Winston Churchill's "crazy broadcast": party, nation, and the 1945 Gestapo speech

Copyright © 2010 by The North American Conference on British Studies. Published version reproduced with permission of the publisher.Article doesn't contain an abstract

Thomas Rotch, accounts payable, undated

John Wintringham submits his bill for the production of cotton cloth to Thomas Rotch and is paid in full, $39.81. 7.25" x 5

Buying the Miracle:Reproductive Tourism and Commercial Surrogacy in India

Recent years have seen the emergence and rapid proliferation of commercial surrogacy programs in India that cater specifically to foreign reproductive tourists. Based on qualitative content analysis of program websites, this paper examines the messages and rhetorical strategies used by leading clinics with the aim of piecing together the discursive infrastructure supporting the industry. In so doing it builds upon feminist scholarship on Assisted Reproductive Technologies (ARTs), situated within anthropological analyses of globalization, in order to create the discursive space necessary for a productive conversation about the efficacy and morality of this industry

John Wintringham letter to Thomas Rotch, Nine Partners, 8 of th 8 mo 1810

John Wintringham explains a disagreement with Moses Dowen over an order for black wool. The issue of the wool was resolved after Dowen conceded that he had made a mistake in his original calculations. Wintringham is also sending seeds to Rotch but he doesn't specify the kind of seeds. 7.95" x 12.5" (20 by 31.5cm

Notationes et observationes in Richardi Mead monita et praecepta medica

auctore Clifton Wintringha

John Wintringham letter to Charity Rotch

John Wintringham acknowledges to Charity Rotch that the enclosed clothe might be enough for two beds and a pillow. 5.95" x 5" (15.1 by 12.8 cm

London Exhibitions of Contemporary Art, 1760-1782: The impact on landscape painting and its reception

The institution of annual exhibitions of modern British art has been accredited with the initiation of a consumer-led commercial market which obviated the need for patronage. I argue that the simplistic acceptance that exhibitions were successful in establishing a market for landscape painting between 1760 and 1782 cannot be substantiated. However, two overtly mercantile initiatives, an auction of contemporary British art in 1763 and the subsequent concession to allow exhibitors to mark their work for sale from 1764, did initiate a limited retail market centred on exhibitions. Although these commercial opportunities were embraced by some landscape painters, I argue that this market was no substitute for patronage which remained important. George Barret and Richard Wilson, founder members of the Royal Academy, marked a selection of their exhibits for sale. I propose they resorted to this commercial practice only when commissions failed to provide financial security. Exhibitions exposed landscape painting, for the first time, to public scrutiny and instigated critical reviews in newspapers. I argue that reviews of the exhibitions between 1760 and 1782 reveal a transformation in the critical response to landscape painting. Connoisseurial rhetoric, based on classically-inspired aesthetic evaluations, was superseded by emphasis on accurate representations of Nature and the ability of landscape painters to evoke subjective responses from perceptive viewers. Nevertheless, there was little correlation between critical acclaim and commercial success; Thomas Gainsborough despite fulsome praise failed to sell his landscape paintings. In 1769, the Royal Academy was established and Joshua Reynolds, in his Discourses, introduced a theoretical platform for evaluation of British art. Landscape painting was marginalised. I suggest that this led to a reduction in the number of landscape exhibits, and a fall in critical interest. However, the exhibitions between 1775 and 1782 exposed the marked disjunction between academic theory and critical response to landscape painting. While history painting was adjudged by Reynolds to be the only genre capable of eliciting an affective response, landscape painters, especially Gainsborough and Joseph Wright of Derby, were increasingly lauded for the emotional impact of their landscape exhibits. I suggest that these changes in critical response were prescient. The reviews of exhibited landscape paintings presaged the language later espoused for the nineteenth-century landscape paintings of John Constable and J.M.W Turner, recognised as the founder members of the British school of landscape painting

Research and government: feeding knowledge into public policy

Academic research on government may or may not be of value to those who govern today. It is, after all, motivated principally by the desire to advance knowledge, not to assist the public policy process at any given time. The latter may draw on, or be the specific motivation for, other research undertakings beyond academia. Of course it is also the case that any research, regardless of its principal motivation or institutional setting, may advance both knowledge and the public policy process. be of value to those who govern today. It is, after all, motivated principally by the desire to advance knowledge, not to assist the public policy process at any given time. The latter may draw on, or be the specific motivation for, other research undertakings beyond academia. Of course it is also the case that any research, regardless of its principal motivation or institutional setting, may advance both knowledge and the public policy process