Bee Gee News July 20, 1932

The BGSU campus student newspaper July 20, 1932. Volume 16 - Issue 41https://scholarworks.bgsu.edu/bg-news/1174/thumbnail.jp

The Reserve Advocate, 11-26-1921

https://digitalrepository.unm.edu/reserve_advocate_news/1015/thumbnail.jp

Coal was our life

This study had its origins in a research proposal submitted to the Open University by Dr Eric Wade, the provisional title being 'The North East Coalfields Facing Change: the Social and Economic Consequences of Pit Closures". The proposal was accepted and an Open University Regional Research Studentship awarded. The research was conducted between October 1993 and November 1996. This study would not have been possible without the help and support of a number of people. In particular I would like to thank Mike Peel, Kel Beavan and Jim Perry of the Westoe Colliery Campaign Group; Eric and Marlene Wade, Kath Avery and Christine Clark for their support, help and friendship over the last three years. Finally, thanks to the men from Westoe who agreed to participate in the research. The study describes the experiences of a small sample of men from Westoe Colliery in South Shields within a comprehensive conceptual framework, that is rather than taking the closure as its starting point this study attempts to understand the importance and relevance of redundancy in terms of the men's life experience. For this reason the men's reasons for entering mining and their subsequent attachment to work are considered as is the increasing dissatisfaction with work experienced following the closure announcement. This study seeks to add to our understanding of the process of redundancy and the way in which redundancy was achieved with relative ease. As Wood and Dey (1983) have noted reactions to redundancy are, of course, affected by the current state of the labour market but they are also affected by other factors. The role of redundancy payments is examined and it is found that such payments have an extremely important role in easing the process of redundancy, however they cannot be considered in isolation from other factors that served to constrain the workers' choices. Redundancy is a far more complex process than many studies have suggested and cannot be understood without considering how previous experiences. influence workers' perceptions of events and their reaction to them. The labour market experiences of the redundant men and the role of British Coal Enterprise are also examined and this study, in common with others, questions BCE's claims of success in 'outplacing' redundant miners. The men's experiences are considered in the context of Government and employers' attempts to increase flexibility. It is found that redundant miners, like an increasing proportion of Britain's workforce, are experiencing increasing insecurity both in and out of employment

Communism in the professions : the organisation of the British Communist Party among professional workers, 1933-1956

This thesis is a historical study of middle-class members of the Communist Party of Great Britain. Although it is principally concerned with the period from 1933 to 1956 some attention is given to the Party's first decade and the years immediately after the great upheaval of 1956. The thesis examines the reasons why middle-class people were attracted to the Communist Party; the various cultural and political initiatives they were involved in and their changing role in the CP. The work describes the way middle-class Communists drew upon their professional and technical skills to contribute to the life of the Party and its political campaigns. Attention is also given to the relationship of middle-class Communists both to their working-class fellow members and to the Party leadership and how these relationships developed and changed over time. The thesis revises various previously accepted characterisations of middle-class Communists which have emphasised the superficial nature of their commitment to the CP in the late 1930s or concentrated attention on those who became entangled in the world of spying. The most important aspect of the study, however, is the examination of the way in which Communists in the professions related their Communism to their work and how in turn their professional concerns and attitudes influenced their politics. To this end detailed studies have been made of the political and occupational activities of Communists in three professional groups - architects, psychologists and school teachers

The repertory theatre movement, 1907-1917

In this thesis I examine the development in the theatre outside London, known as the "repertory theatre movement". I concentrate on the first three theatres founded, the Gaiety in Manchester, the Citizens' in Glasgow, and the Liverpool Repertory Theatre, all of which came into prominence between 1907 and 1917, the ten years which span the life of the Gaiety Theatre. The roots of the movement are traced to Germany and its network of subsidised theatres, and to the Abbey in Dublin, which played a crucial role as the catalyst for the movement The British background to the movement is also explored. A discussion of the theatres' structure follows, with their establishment, organisation, finances, policy and the audience they attracted, surveyed. I then consider the repertoire of each theatre analysing which plays they performed, which new authors encouraged, and why the emphasis lay on a certain kind of drama. The backgrounds of the actors and actresses who joined the repertory theatres are discussed, as are their techniques, and how they adapted to the strictures of repertory. Similarly, the directors who undertook a huge workload were forced to find a new way of working which would ensure high artistic standards, while producing a large number of plays. I shall look at this development of a new stagecraft in a historical context and evaluate its strengths and weak-nesses

'Neither beasts nor gods but men': constructions of masculinity and the image of the ordinary British solider or 'Tommy' in the First World War art of C.R.W. Nevinson (1889-1946); Eric Henri Kennington (1888-1960) and Charles Sargeant Jagger (1885-1934)

In part this thesis was inspired by a reading of Frederic Manning's novel of the First World War, Her Privates We, published in 1930. In the novel's foreword Manning suggests that the men who did by far the most fighting and dying on the side of Britain during the First World War, ordinary soldiers in the ranks, had been fundamentally misunderstood by those writing about the war after the end of hostilities. Manning asserted, using the words I quote in the title of the thesis, that the men with whom he served in the ranks during the murderous battle of the Somme were not just soulless killers nor were they cattle-like victims who went to their deaths with no conception of why they fought. He remembered his comrades as ordinary men who consistently displayed an extraordinary capacity for endurance and ingenuity amidst the most atrocious conditions. Manning's perception of the ordinary British soldier, or Tommy' prompted me to explore the relatively under-researched and poorly appreciated area of imagery of the First World War created by British official and unofficial war artists. Those who had fought valued tremendously the imagery of the British soldier from the ranks created by Nevinson, Kennington and Jagger. One of the principle objectives of this thesis will be to uncover reasons for why this was the case. In addition, art of the First World War operates in an area over which a number of disciplines overlap, such as art history, military history, anthropology, literary history and gender studies. This thesis seeks to offer, in a manner which has not been hitherto attempted, to integrate approaches from the aforementioned disciplines in an attempt to enrich understanding of how various participants reacted in the way they did to images of British combatants created by Nevinson, Kennington and Jagger. In particular, this study acknowledges the advances made in the realm of Masculinity Studies over the past decade and argues that deployment of such research can considerably enhance our appreciation of why certain images, whether they be a painting or a drawing or a piece of figurative sculpture, could be greeted with widespread approbation or equally comprehensive condemnation. The author has been pleasantly surprised by the extent of unpublished material there still exists concerning the three artists under investigation despite the fact that, during their heyday, they were collectively regarded as among Britain's brightest artistic talents. There remains far more to be said, and argued, about the imagery of soldiers produced within Britain during one of the most traumatic and destructive episodes in human history. This thesis does not, in itself, constitute a definitive study of the careers of three fascinating and important artists during and immediately after the First World War. However, it is offered in the hope that the information it contains will spur future students of the era to further investigation in what remains an extremely fertile area for thought-provoking research

'Neither beasts nor gods but men' : constructions of masculinity and the image of the ordinary British solider or 'Tommy' in the First World War art of C.R.W. Nevinson (1889-1946), Eric Henri Kennington (1888-1960) and Charles Sargeant Jagger (1885-1934)

In part this thesis was inspired by a reading of Frederic Manning's novel of the First World War, Her Privates We, published in 1930. In the novel's foreword Manning suggests that the men who did by far the most fighting and dying on the side of Britain during the First World War, ordinary soldiers in the ranks, had been fundamentally misunderstood by those writing about the war after the end of hostilities. Manning asserted, using the words I quote in the title of the thesis, that the men with whom he served in the ranks during the murderous battle of the Somme were not just soulless killers nor were they cattle-like victims who went to their deaths with no conception of why they fought. He remembered his comrades as ordinary men who consistently displayed an extraordinary capacity for endurance and ingenuity amidst the most atrocious conditions. Manning's perception of the ordinary British soldier, or Tommy' prompted me to explore the relatively under-researched and poorly appreciated area of imagery of the First World War created by British official and unofficial war artists. Those who had fought valued tremendously the imagery of the British soldier from the ranks created by Nevinson, Kennington and Jagger. One of the principle objectives of this thesis will be to uncover reasons for why this was the case. In addition, art of the First World War operates in an area over which a number of disciplines overlap, such as art history, military history, anthropology, literary history and gender studies. This thesis seeks to offer, in a manner which has not been hitherto attempted, to integrate approaches from the aforementioned disciplines in an attempt to enrich understanding of how various participants reacted in the way they did to images of British combatants created by Nevinson, Kennington and Jagger. In particular, this study acknowledges the advances made in the realm of Masculinity Studies over the past decade and argues that deployment of such research can considerably enhance our appreciation of why certain images, whether they be a painting or a drawing or a piece of figurative sculpture, could be greeted with widespread approbation or equally comprehensive condemnation. The author has been pleasantly surprised by the extent of unpublished material there still exists concerning the three artists under investigation despite the fact that, during their heyday, they were collectively regarded as among Britain's brightest artistic talents. There remains far more to be said, and argued, about the imagery of soldiers produced within Britain during one of the most traumatic and destructive episodes in human history. This thesis does not, in itself, constitute a definitive study of the careers of three fascinating and important artists during and immediately after the First World War. However, it is offered in the hope that the information it contains will spur future students of the era to further investigation in what remains an extremely fertile area for thought-provoking research.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

The Lance: School Year 1983-1984: Summer Lance 1984

Summer Lance 1984 Vol. 1: no. 1 (1984: May 30) 8p.Vol. 1: no. 2 (1984: June 12) 8p.Vol. 1: no. 3 (1984: June 28) 8p.Vol. 1: no. 4 (1984: July 13) 8p.Vol. 1: no. 5 (1984: Aug. 1) 8p.https://scholar.uwindsor.ca/lance/1048/thumbnail.jp

The Development of the British Conspiracy Thriller 1980-1990

This thesis adopts a cross-disciplinary approach to explore the development of the conspiracy thriller genre in British cinema during the 1980s. There is considerable academic interest in the Hollywood conspiracy cycle that emerged in America during the 1970s. Films such as The Parallax View (Pakula, 1975) and All the President’s Men (Pakula, 1976) are indicative of the genre, and sought to reflect public anxieties about perceived government misdeeds and misconduct within the security services. In Europe during the same period, directors Costa-Gavras and Francesco Rosi were exploring similar themes of state corruption and conspiracy in films such as State of Siege (1972) and Illustrious Corpses (1976). This thesis provides a comprehensive account of how a similar conspiracy cycle emerged in Britain in the following decade. We will examine the ways in which British film-makers used the conspiracy form to reflect public concerns about issues of defence and national security, and questioned the measures adopted by the British government and the intelligence community to combat Soviet subversion during the last decade of the Cold War. Unlike other research exploring espionage in British film and television, this research is concerned exclusively with the development of the conspiracy thriller genre in mainstream cinema. This has been achieved using three case studies: Defence of the Realm (Drury, 1986), The Whistle Blower (Langton, 1987) and The Fourth Protocol (MacKenzie, 1987). For each case study chapter, interviews have been conducted with the film-makers in order to gain insight into the aims and motivations that underpin each film. As well as employing these first-hand accounts of the production contexts, close analysis of film style is provided in order to understand the ways in which the British genre is informed stylistically by its Hollywood and European forebears. This means that for the first time, the British conspiracy cycle can be understood within a wider historical and cinematic context. Detractors of the conspiracy genre argue that it offers audiences a simplistic view of complex political events. We will reflect on this criticism and evaluate the extent to which the British films provide meaningful political comment within the conventions of mainstream cinema

The Pan American (1989-04)

https://scholarworks.utrgv.edu/panamerican/1514/thumbnail.jp