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1
Spraakman, Gary. « THE FIRST EXTERNAL AUDITORS OF THE HUDSON'S BAY COMPANY, 1866 ». Accounting Historians Journal 38, no 1 (1 juin 2011) : 57–80. http://dx.doi.org/10.2308/0148-4184.38.1.57.
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At the request of shareholders, the Hudson's Bay Company had its financial statements audited for the first time in 1866. Two external auditors were hired, one for the shareholders and one for management. Three inter-related forces led to this decision: (1) most importantly, the company's shareholders demanded audited financial statements, (2) there was emerging in London at the time the capacity and willingness among London accountants to provide external audit services, and (3) the British Parliament passed various acts that required financial statements of companies in other industries to be audited. After a few years, only the management's external auditor was retained. He subsequently influenced the company's development of management accounting. In addition, the company's early external auditors were influential in the development of the Institute of Chartered Accountants of England and Wales.
2
Collins, Aletta. « A Choreographer's Approach to Opera ». Dance Research 33, no 2 (novembre 2015) : 269–72. http://dx.doi.org/10.3366/drs.2015.0141.
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My first professional commission as a choreographer was not for a dance company but for an opera company, for the Bregenz Festival in Austria. In 1988, while I was still a student at London Contemporary Dance School, I was approached to choreograph Camille Saint-Saëns's Samson et Dalila; the commission also included giving ‘movement’ to the chorus (a group of 120 singers) and directing the dancers when they were not dancing. The dancers were a classical company from Sofia, Bulgaria, a company of thirty none of whom spoke English.
3
Baladouni, Vahé. « FINANCIAL REPORTING IN THE EARLY YEARS OF THE EAST INDIA COMPANY ». Accounting Historians Journal 13, no 1 (1 mars 1986) : 19–30. http://dx.doi.org/10.2308/0148-4184.13.1.19.
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The first archival period (1600–1663) of the (English) East India Company is marked by an absence of accounting materials. A small number of financial statements have escaped peril, however, and found their way to the India Office Library and Records in London. Of these, two are of singular interest. Along with related Company minutes, these statements are analyzed and interpreted in this paper. They shed some light on the reporting practices and concepts of the early years of the incorporated joint-stock company.
4
Diamond, Marian. « Tea and Sympathy : Foundations of the Australia/China Trading Networks ». Queensland Review 6, no 2 (novembre 1999) : 24–29. http://dx.doi.org/10.1017/s1321816600001124.
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In 1824, a group of London businessmen established the Australian Agricultural Company (AAC), Australia's oldest chartered company. Their prospectus listed amongst their objectives, after the raising of sheep and cattle, the production ‘at a more distant time, of Wine, Olive-Oil, Hemp, Flax, Silk, Opium, &c. as articles of export to Great Britain’. In 1828, a local manager reported that he thought that ‘if the labour of the Blacks can be procured for the operative part the culture [of opium] would likely prove profitable to the Company.’ And in 1833, the Australian manager of the company sent the London Board a sample of the first opium grown on company lands in the Hunter River area. The board had it evaluated by a pharmacist, who reported that it was ‘of fair, merchantable quality, about equal to Egyptian Opium. — It contains two thirds of the quantity of Morphia usually found in the best Turkey Opium. In this market, when Turkey Opium is worth 15s./ p lb., we have no doubt that such Opium as your Sample would sell for 14s/ p Ib. On the basis of this disappointing assessment, the Australian Agricultural Company abandoned opium growing — and opium growing was abandoned in Australia for another hundred and fifty years.
5
Aston, Elaine, et Janelle Reinelt. « Building Bridges : Life on Dunbar's Arbor, Past and Present ». Theatre Research International 26, no 3 (octobre 2001) : 285–93. http://dx.doi.org/10.1017/s0307883301000360.
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Rita, Sue and Bob Too by Andrea Dunbar and A State Affair, by Robin Soans. Co-production Out of Joint, Liverpool Everyman and Playhouse, and Soho Theatre Company. Double bill first performed at Liverpool Everyman on 19 October 2000 and Soho Theatre, London on 5 December 2000.
6
Mackie, G. V., et J. F. T. Houghton. « Marine Meteorological Services to Shipping, Past, Present and Future ». Journal of Navigation 45, no 2 (mai 1992) : 241–46. http://dx.doi.org/10.1017/s0373463300010730.
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This paper, and the following two papers, were presented at a joint meeting sponsored by the Institute in association with the Honourable Company of Master Mariners and the London Branch of the Nautical Institute. The meeting was held at Trinity House on 20 November 1991. This first paper was read by Captain Houghton.
7
Zarhy-Levo, Yael. « Joan Littlewood and Her Peculiar (Hi)story as Others Tell It ». Theatre Survey 42, no 2 (novembre 2001) : 165–76. http://dx.doi.org/10.1017/s0040557401000084.
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The theatrical map in London during the 1960s consisted of four notable theatrical companies: the English Stage Company, the Royal Shakespeare Company, the National Theatre Company, and the Theatre Workshop. The first three companies, although somewhat transformed, fill major roles in British theatre to the present day. What happened to the fourth company, the Theatre Workshop? This question is all the more intriguing in light of the tribute current historical and critical accounts pay to the founder-director of this company, Joan Littlewood. Theatre critics and historians today view Littlewood as a major representative of radical theatre in the 1960s. Littlewood's position during her era, however, was quite a different story, and the tale of then versus the tale of now is a primer in theatre historiography. I will trace that tale in this essay by juxtaposing the diverse receptions she and her works have received during the past forty years.
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Clark, Oswald. « The Ancient Office of Parish Clerk and the Parish Clerks Company of London ». Ecclesiastical Law Journal 8, no 38 (janvier 2006) : 307–22. http://dx.doi.org/10.1017/s0956618x00006451.
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Attempt is made to trace the work and role of the parish clerk from menial monastic beginnings to its emergence in the thirteenth century as a canonically recognised office–probably the oldest unordained office at the parochial level in the English church and the last vestigial survival of Minor Orders. In parallel is developed the story of the coming together of London parish clerks as a guild or fraternity, radically distinguished from the merchant, craft and service guilds, and of the grant to that fraternity of ‘clerici et literati’– with its unique livery and ethos–of the first of its six Royal Charters. The duties and activities of mediaeval parish clerks and the constitution of their Company are considered along with its possessions, especially its Bede Roll. Attention is paid to the understanding of Purgatory and the devastating effects of the Chantries Act 1548. The parish clerk's changing role following the Reformation is examined within the prevailing continuities and discontinuities. New duties in relation to Registration and Bills of Mortality are marked in addition to the parish clerk's increasing social involvement in the civil affairs of the parish. The decline in the parish clerk's duties from the nineteenth century is studied and its effect on the office, the London Company and the ancient parishes of old London, from which the Company is exclusively recruited.
9
King, Richard G., et Saskia Willaert. « Giovanni Francesco Crosa and the First Italian Comic Operas in London, Brussels and Amsterdam, 1748–50 ». Journal of the Royal Musical Association 118, no 2 (1993) : 246–75. http://dx.doi.org/10.1093/jrma/118.2.246.
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In the autumn of 1748 the opera audience in London was introduced to a newly arrived troupe of Italian singers, an eccentric impresario and an operatic genre previously unknown in England. The buffo company, led by ‘Doctor’ Giovanni Francesco Crosa, would entertain the King's Theatre public for the first time with full-length Italian comic operas. In May 1750, after two tumultuous seasons which saw the gradual dissolution of the troupe and financial disaster for the management, Crosa fled the country, never to return. The King's Theatre closed its doors, to reopen only in the autumn of 1753 with a programme devoted exclusively to serious opera. It was not until 1766, when Piccini's La buona figliuola conquered the London opera stage, that Italian comic opera found real success at the King's.
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Sutton, Anne F. « The Silent Years of London Guild History before 1300 : the Case of the Mercers ». Historical Research 71, no 175 (1 juin 1998) : 121–41. http://dx.doi.org/10.1111/1468-2281.00057.
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Abstract The first surviving mention, in 1304, of the Mercers’ Company of London acting as a body, shows it already fully conscious of its rights and the value of the freedom of the city, and this article discusses how the mistery had arrived at this point. It is suggested that the earliest mistery of mercers received their first regulations as artisans, and that it was the need to protect the privileges of the city's freedom, so important to itinerant mercers, which may have combined the great merchant and the lesser dealer-artisan into one mistery of mercers.
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Birksted-Breen, Noah. « Russian Theatre Festival at the Soho ». New Theatre Quarterly 26, no 3 (août 2010) : 296–98. http://dx.doi.org/10.1017/s0266464x10000503.
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As Noah Birksted-Breen, founder of Sputnik Theatre Company (noah@sputniktheatre.co.uk), starts planning the second Russian Theatre Festival in mid-2011, he looks back on why he founded the festival, what to look out for in new Russian drama, why he chose this year's plays, and what comes next. The first festival was held at the Soho Theatre, London, 1–4 February 2010.
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Greenberg, Susan L. « History with Feeling ». Logos 31, no 1 (14 juillet 2020) : 7–26. http://dx.doi.org/10.1163/18784712-03101002.
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The Macmillan Company New York, led by the Bretts, was a major player in American life. But it had a secret: the company was majority owned by the London parent. As the US came to eclipse the UK, the arrangement led to growing tensions. Finally, in 1951, London was persuaded to sell its stake. But the UK firm found itself unable to use the family name for a new American venture, sparking a legal fight that lasted until 2002. This account of an important event in publishing history adds new detail from archival sources, supporting a fresh reading and correcting earlier errors. It also brings into view a significant amount of material that is published for the first time. The article argues that, although there were hard business reasons for the sale, cultural and personal factors were also consequential and these two types of agency, rational and emotional, work in interrelated ways.
13
Goff, Moira. « Leach Glover, ‘Dancing Master to the Royal Family’ Part One : The Professional Dancer in Context ». Dance Research 39, no 2 (novembre 2021) : 204–21. http://dx.doi.org/10.3366/drs.2021.0343.
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Leach Glover (1697–1763) danced in London's theatres from 1717 until 1741 and was a leading dancer for nearly twenty years. In 1738, he was appointed as a dancing master to Britain's royal family, a post he retained following his retirement from the stage. This article looks at Glover's family and professional background and places his theatrical career within the wider context of dancing on the London stage. It looks in detail at his first and last seasons working for John Rich, manager of the Lincoln's Inn Fields and then Covent Garden theatres. It examines not only Glover's repertoire but also his changing status in the dance company that existed within the theatrical company. As part of this investigation, it discusses some of Glover's contemporaries alongside its appraisal of his own work and looks at the challenges as well as the opportunities he experienced within the commercial environment of the London stage.
14
Greco, Pietro. « Science and society of knowledge ». Journal of Science Communication 06, no 03 (20 septembre 2007) : R01. http://dx.doi.org/10.22323/2.06030701.
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Probably among the first to deal with it, nearly sixty years ago, Norbert Wiener, the founding father of cybernetics (The human use of human beings. Cybernetics and Society, Houghton Mifflin Company, London, 1950), prefigured its opportunities, as well as its limitations. Today, it is a quite common belief. We have entered (are entering) a new, great era in the history of human society: the age of information and knowledge.
15
Amadouny, Vartan Manoug. « Morris Young, pioneer physician ». Journal of Medical Biography 25, no 1 (9 juillet 2016) : 27–34. http://dx.doi.org/10.1177/0967772015583445.
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This concise biography of Morris Young shows how he developed the medical services of the Anglo-Persian Oil Company in the first three decades of the twentieth century, and ended his career working with Sir Alexander Fleming at St Mary’s Hospital in London. Young is an important figure in the history of medicine in Persia, and this biography introduces the achievements of this modest man who devoted his life to medicine.
16
Ehsani, Kaveh. « Social Engineering and the Contradictions of Modernization in Khuzestan's Company Towns : A Look at Abadan and Masjed-Soleyman ». International Review of Social History 48, no 3 (24 novembre 2003) : 361–99. http://dx.doi.org/10.1017/s0020859003001123.
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After the discovery of oil in Masjed-Soleyman by employees of the D'Arcy Concession in 1908, the Anglo Persian Oil Company (APOC) was incorporated in London. The oil cities of Abadan, Masjed-Soleyman, and at least seven other sister towns designed and constructed by the APOC in the first quarter of the twentieth century in Khuzestan, were the first modern and industrial towns in Iran and the Middle East. This essay studies Abadan and Masjed-Soleyman – company towns with, on the one hand, a modern and authoritarian structure and organization, and on the other hand, thanks to the heterogeneity and energy of their population, as well as the forbidding scale the cities had reached despite the company's wishes, a conditional modernity. The result of these contradictions were cities and urban cultures that were energetic and dynamic, but also eclectic and hybrid.
17
Tuan, Hoang Anh. « From Japan to Manila and Back to Europe : The Abortive English Trade with Tonkin in the 1670s ». Itinerario 29, no 3 (novembre 2005) : 73–92. http://dx.doi.org/10.1017/s0165115300010482.
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It is a well-known fact that the reconstitution of the English East India Company in the 1660s caused a significant revolution in its Asia trade. Coincidently with this improvement, the Company also attempted to expand its trade to East Asian countries, using its Bantam Agent, its only base in Southeast Asia, as a springboard for launching this strategy. Around 1668 the Court of Committees in London was looking for an appropriate opportunity to re-open relations with Japan through the channel of Cambodia. The plan of re-entering the Japan trade – in this the directors in London might have been influenced by their officials in Bantam or they themselves had overestimated its prospects – was then put into practice at the end of 1671. Forthe Company itself, trading with Japan would obviously be profitable, as it had observed at first hand the considerable success of the Dutch East India Company (VOC) over the last decades. The English in the East also grew convinced that the regional trade between Japan and other areas would reap extra profits for the Company. Among the selected targets was Tonkin, present-day northern Vietnam. At that time, its silks and other textiles were highly valued and could fetch good prices in Japan. Traders who took Tonkinese silks to Nagasaki were then able to purchase Japanese silver and copper. These precious metals would be brought back to invest in local merchandize at other factories to keep up the flow of the Japan trade and to supply marketable goods for Europe. The ultimate aim of the English in tradingwith Tonkin was, therefore, to create the so-called Tonkinese silk-for-Japanese silver trade, like that successfully undertaken by the Dutch since 1637. Besides, the search for new markets for English manufactured goods was another reason that spurred the Company on to carry out this plan.
18
Chatterjee, Arup K. « Performing Calibanesque Baptisms : Shakespearean Fractals of British Indian History ». Multicultural Shakespeare : Translation, Appropriation and Performance 23, no 38 (30 juin 2021) : 59–74. http://dx.doi.org/10.18778/2083-8530.23.04.
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This paper uncovers new complexity for Shakespearean studies in examining three anecdotes overlooked in related historiography—the first Indian baptism in Britain, that of Peter Pope, in 1616, and its extrapolation in Victorian history as Calibanesque; the tale of Catherine Bengall, an Indian servant baptised in 1745 in London and left to bear an illegitimate child, before vanishing from Company records (like Virginia Woolf’s invention Judith Shakespeare vanishing in Shakespeare’s London); and the forgotten John Talbot Shakespear, a Company official in early nineteenth-century Bengal and descendant of William Shakespeare. I argue that the anecdotal links between Peter, Caliban, Catherine, Judith, Shakespear and Shakespeare should be seen as Jungian effects of non-causal “synchronic” reality or on lines of Benoit Mandelbrot’s conception of fractals (rough and self-regulating geometries of natural microforms). Although anecdotes and historemes get incorporated into historical establishmentarianism, seeing history in a framework of fractals fundamentally resists such appropriations. This poses new challenges for Shakespearean historiography, while underscoring distinctions between Shakespeareanism (sociological epiphenomena) and Shakespeare (the man himself).
19
Guagnini, Anna. « John Fletcher Moulton and Guglielmo Marconi : bridging science, Law and industry ». Notes and Records : the Royal Society Journal of the History of Science 63, no 4 (23 septembre 2009) : 355–63. http://dx.doi.org/10.1098/rsnr.2009.0055.
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Several Fellows of the Royal Society had a role in the achievements of Guglielmo Marconi. Among them was John Fletcher Moulton. An outstanding undergraduate mathematician at Cambridge who maintained a lifelong interest in electricity, Moulton went on to become one of the most formidable lawyers practising in the London courts. His collaboration in the preparation of Marconi's first UK patent in 1897 marked the beginning of an important association with Marconi and the Marconi Wireless Telegraph Company.
20
Broude, Paul D., et Joseph E. Levangie. « Entrepreneurial financing–alternatives for raising capital ». New England Journal of Entrepreneurship 9, no 2 (1 mars 2006) : 55–62. http://dx.doi.org/10.1108/neje-09-02-2006-b006.
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Most entrepreneurs are continually concerned about their finances. Their companies perhaps not yet profitable, they may have a fear of “running out of dry powder.” These entrepreneurs often have fallen in love with their company's technologies, products, and potential markets, but they require more resources. Invariably these emerging ventures shroud their fear of the grueling capital raising marathon by presenting voluminous business plans to potential investors. They often flaunt their “optimized business models.”” Investors, however, typically want to know why the potential investment is such a good deal. The entrepreneur often wants guidance regarding what to say to whom in a changing financing environment. In this article, our “Practitioner's Corner” associate editor Joe Levangie collaborates with a long-time colleague Paul Broude to address how businesses should “make their capital-raising initiatives happen.” Levangie, a venture advisor and entrepreneur, first worked with Broude, a business and securities attorney, in 1985 when they went to London to pursue financing for an American startup. They successfully survived all-night drafting sessions, late-night clubbing by the company founder, and even skeet shooting and barbequing at the investment banker's country house to achieve the first “Greenfield” flotation by an American company on the Unlisted Securities Market of the London Stock Exchange. To ascertain how the entrepreneur can determine what financing options exist in today's investing climate, read on.
21
Phimister, Ian. « Lendy, Lobengula, and London : The 1893 Anglo-Ndebele War Revisited ». Global Nineteenth-Century Studies 2, no 2 (16 novembre 2023) : 101–41. http://dx.doi.org/10.3828/gncs.2023.8.
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In October and November 1893, Ndebele warriors of Lobengula Khumalo’s Matabeleland kingdom in the western third of what is now Zimbabwe were defeated by troopers of Cecil Rhodes’s British South Africa Company. Framed by the context of what Friedrich Engels understood to be the driving force behind colonization, ‘today this is purely a subsidiary of the stock exchange … Africa leased directly to companies … and Mashonaland … seized by Rhodes for the stock exchange’, but refracted through local, regional, and international issues, the first section covers the period 1888 to 1892. It focuses on the ownership of the concession extracted by Rhodes’s emissaries, the amalgamation in London of competing financial interests, and the local dynamics of the Ndebele state. The second part looks at the reasons why Rhodes was persuaded that war would solve the chartered company’s problems. The conclusion points to the global reach of late nineteenth-century financial capitalism.
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LeCompte, Elizabeth, Kate Valk et Maria Shevtsova. « A Conversation on The Wooster Group's Troilus and Cressida with the RSC ». New Theatre Quarterly 29, no 3 (31 juillet 2013) : 233–46. http://dx.doi.org/10.1017/s0266464x13000432.
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Elizabeth LeCompte and Kate Valk here discuss with Maria Shevtsova The Wooster Group's work with the Royal Shakespeare Company on Troilus and Cressida and the challenges posed for them by this joint venture. The project was initially proposed by Rupert Goold, but was brought to fruition by playwright Mark Ravenhill, his first directing experience. Troilus and Cressida was part of the World Shakespeare Festival, during which all Shakespeare's plays were performed by different companies from countries across the globe. The Festival, four years in the making and spanning eight months, was part of the cultural programme of the Olympic Games held in London in 2012. Troilus and Cressida was first performed at the Swan Theatre in Stratford-upon-Avon from 3 to 18 August 2012, and then at the Riverside Studios in London from 24 August to 8 September. This conversation took place at the Riverside Studios on 30 August 2012, and pairs with the discussion of The Wooster Group's Hamlet, the company's first Shakespeare production, published in NTQ 114 (May 2013). Maria Shevtsova holds the Chair in Drama and Theatre Arts at Goldsmiths, University of London and is co-editor of New Theatre Quarterly. Her most recent book is the co-authored Cambridge Introduction to Theatre Directing (2013).
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Forse, James H. « Extortion in the Name of Art in Elizabethan England : The Impressment of Thomas Clifton for the Queen's Chapel Boys ». Theatre Survey 31, no 2 (novembre 1990) : 165–76. http://dx.doi.org/10.1017/s0040557400009339.
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In 1599–1600, after a lapse of almost ten years, the children's acting companies reappeared in London. The Paul's Children seem to have been the first to resume playing, quietly and modestly, no doubt testing the waters. After all, the boys' companies had one after another been officially suppressed between 1584 and 1590 because of their penchant for controversial material and the continual litigation among investors in the various earlier companies. Seeing the growing success of Paul's Boys, one of these earlier investors, Henry Evans, a Welsh scrivener, worked to reconstitute a company of boy actors at Blackfriars, seeking to make good on his aborted first attempt as a theatrical entrepreneur.
24
Patel, Sutchin, Nicholas Rotker et Anthony Caldamone. « How a Rock Band, a Recording Company, and a Nobel Laureate Developed Computed Tomography ». International Journal of Urologic History 2, no 2 (5 janvier 2023) : 44–51. http://dx.doi.org/10.53101/ijuh.2.2.01052303.
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Objectives Computed Tomography (CT) is an indispensable element of medical care used throughout the world, and first developed for clinical use by Hounsfield in 1971. The largest source of monetary support for Hounsfield’s work was from his employer, Electrical Musical Industries, Ltd. (EMI) and, in turn, the most lucrative source of income for EMI through the 1960’s was their recording contract with the English quartet, the Beatles. The purported link between the Beatles’ productive oeuvre with EMI and Hounsfield’s discovery of CT has not been well established. We endeavored to elucidate the technological and creative talents that linked Hounsfield with EMI and the Beatles and which ultimately led to one of the greatest medical innovations of the 20th century. Methods We used GoogleScholar, PubMed, and primary sources to research the life of Godfrey Hounsfield, the history of Electric and Musical Industries, Ltd (EMI), and The Beatles in reference to the development of CT. We used the EMI Archives Trust (London), and the archives of the Institute of Electrical and Electronics Engineers (IEEE) UK and Ireland (London). We obtained unpublished photographs courtesy of private collections. Results EMI translated its electronic prowess during WWII into the recorded music business, purchasing Capitol Records in 1955. EMI would sign The Beatles in 1963 and EMI profits rose 80% that first year. Sir Godfrey Hounsfield began a successful scientific career with EMI in 1951. With financial support from EMI’s research division, Hounsfield began developing what would become the first CT-scanner in 1967. By directing x-ray beams through the body at 1 degree angles, with a detector rotating in tandem on the other side, he could measure the x-ray attenuation of different tissues inside the body. These values were then analyzed via a mathematical algorithm to produce a 2-dimensional image of the slice of the body. Hounsfield worked with James Ambrose, a radiologist, to conduct the first clinical CT-scan at Atkinson Morley Hospital in 1971 in a patient with a brain tumor. EMI entered the medical equipment business thereafter and heavily marketed the CT-scanner using the financial resources EMI derived from its record sales. By 1976, EMI could not produce enough CT-scanners to fill demand and ultimately would cede the medical imaging business to competitors, and devote itself to the music industry. In 1979, Hounsfield, and Allen Cormack, a South African physicist who independently theorized the basis of CT imaging, would win the Nobel Prize. Conclusions ‘Let it be’ known that it was only ‘yesterday’ when a recording company, a rock band, and a radar scientist revolutionized medical imaging with the development of computed tomography.
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Zajec, Olivier. « Emile Simpson, War from the Ground Up. Twenty-First-Century Combat as Politics , London, Hurst & ; Company, 2012, 285 p. » Stratégique N° 103, no 2 (1 avril 2013) : II. http://dx.doi.org/10.3917/strat.103.0271b.
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Schlote, Christiane. « Indian Servitude(s) in Imperial London : Tanika Gupta’s The Empress ». Journal of Contemporary Drama in English 10, no 2 (1 novembre 2022) : 302–26. http://dx.doi.org/10.1515/jcde-2022-0023.
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Abstract Dramatic acts of retrieving marginalised stories and of rewriting imperial history from a transnational perspective have been essential for efforts at decolonising knowledge. In The Empress (2013), Tanika Gupta explores the neglected history of Indian communities and the nexus of imperial labour and mobility in late-Victorian London through interlacing the fictional story of the Bengali ayah Rani and the Indian lascar Hari; the true story of the relationship between Queen Victoria and her Indian munshi Hafiz Mohammed Abdul Karim; and the stories of Westminster’s first Indian MP, Dadabhai Naoroji, and Mohandas Karamchand Gandhi. By foregrounding the urban experiences of diverging Indian servant characters in the sense of a critical cosmopolitanism and by privileging a heterogeneous “history from below,” this article explores how The Empress presents a counterstory to notions of a Dickensian London “full of bonnets and white people” (Royal Shakespeare Company, “Emma Rice”) and a critical intervention in discourses relating to the ethical challenges inherent in the commemoration and teaching of the British Empire.
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Till, Nicholas. « ‘First-Class Evening Entertainments’ : Spectacle and Social Control in a Mid-Victorian Music Hall ». New Theatre Quarterly 20, no 1 (5 janvier 2004) : 3–18. http://dx.doi.org/10.1017/s0266464x03000289.
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First-Class Evening Entertainments was the title given to a variety programme presented at Hoxton Hall in East London when it first opened in 1863. In 2000 Nicholas Till and Kandis Cook were commissioned by Hoxton Hall and the English National Opera Studio to make a new music theatre piece for the Hall, which led to an investigation of the content and context of the original programme. In the following article Nicholas Till offers a reading of the 1863 programme as an example of the mid-Victorian project to exercise social control over the urban working classes. Nicholas Till is Senior Lecturer in Theatre at Wimbledon School of Art, and co-artistic director of the experimental music theatre company Post-Operative Productions. He is the author of Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart's Operas (Faber, 1992), and is currently editing The Cambridge Companion to Opera.
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Lowther, D. A. « The first painting of the red panda (Ailurus fulgens) in Europe ? Natural history and artistic patronage in early nineteenth-century India ». Archives of Natural History 48, no 2 (octobre 2021) : 368–76. http://dx.doi.org/10.3366/anh.2021.0728.
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Throughout the late eighteenth and early nineteenth centuries, British East India Company officials, based in the Indian subcontinent, amassed huge collections of natural history images. One of the largest collections, consisting of many thousands of individual paintings commissioned mainly from Indian artists between 1790 and 1823, was formed by Major-General Thomas Hardwicke. Some of these later formed the basis of John Edward Gray’s Illustrations of Indian zoology, but the vast majority remained unpublished. This paper focuses on one of these images, a detailed watercolour of the red panda ( Ailurus fulgens), painted to accompany a scientific description of the species which Hardwicke sent from Bengal to the Linnean Society of London in 1820. The painting pre-dates Frédéric Cuvier’s description of the animal by four years, and is almost certainly the first image of the red panda to have arrived in Europe. This paper sets the painting in the context of Hardwicke’s career as a naturalist and private patron of Indian artists, highlighting both his role as an early investigator of Indian zoology and the importance of “Company Art” in the accrual of scientific information.
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LARGE, STEPHEN S. « MODERN JAPAN'S TROUBLED PURSUIT OF ‘WEALTH AND POWER’ ». Historical Journal 40, no 2 (juin 1997) : 537–50. http://dx.doi.org/10.1017/s0018246x97007280.
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Japan through American eyes: the journal of Francis Hall, Kanagawa and Yokohama, 1859–1866. Edited and annotated by F. G. Notehelfer. Princeton: Princeton University Press, 1992. Pp. 652. £39.00.Sabotaging the shogun: Western diplomats open Japan, 1859–69. By John McMaster. New York: Vantage Press, 1992. Pp. 201. $16.95.Japan and the world since 1868. By Michael A. Barnhart. London: Edward Arnold, 1995. Pp. 198. £40.00 hbk: £13.99 pbk.The abacus and the sword: the Japanese penetration of Korea, 1895–1910. By Peter Duus. Berkeley and London: University of California Press, 1995. Pp. 480. £37.50.Race and migration in Imperial Japan. By Michael Weiner. London and New York: Routledge, 1994. Pp. 278. £37.50.Voluntary death in Japan. By Maurice Pinguet. Oxford: Polity Press, 1993. Pp. 365. £45.00.Shōwa: the Japan of Hirohito. Edited by Carol Gluck and Stephen R. Graubard. London and New York: W. W. Norton & Company, 1992. Pp. 315. £8.95.Arming Japan: defence production, alliance politics, and the postwar search for autonomy. By Michael J. Green. New York: Columbia University Press, 1995. Pp. 206. £30.00.The technological transformation of Japan: from the seventeenth to the twenty-first century. By Tessa Morris-Suzuki. Cambridge and New York: Cambridge University Press, 1994. Pp. 304. £35.00.The emptiness of Japanese affluence. By Gavan McCormack. Armonk, New York and London: M. E. Sharpe, 1996. Pp. 311. £16.95.
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Pritchard, Jane. « Archives of the Dance (24) : The Alhambra Moul Collection at the Victoria and Albert Museum ». Dance Research 32, no 2 (novembre 2014) : 233–57. http://dx.doi.org/10.3366/drs.2014.0108.
Texte intégralRésumé :
This article in the ‘Archives of the Dance’ series looks at one specific collection held in the Theatre & Performance Collections of the Victoria and Albert Museum, London. At first glance, the Alfred Moul Collection (THM/75) appears a small collection filling only half a dozen archive boxes plus some photographs and press cuttings books. Nevertheless its content is very revealing about the management of the Alhambra Palace of Variety, Leicester Square, during the years 1901–1914, and the ballets created there. It is not exclusively a dance archive but places the work of the theatre's ballet company in the context of variety theatre and the full range of turns presented there. The collection focuses on the final decade of the fifty years from 1864 in which the Alhambra dominated the ballet-scene in London. This final period was a time of decline and competition for the ballet company. The collection reveals the management's awareness of competition and the consequent need to embrace a wide range of genres; the word ballet was used to cover all forms of theatre dance and, as the collection reveals, the wide search for new dance stars for productions; it enhances our knowledge of dance and dancers from France, Russia, America and Denmark as well as our knowledge of dance in Britain immediately before the full impact of the Russian ballet was felt.
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Schall, Ekkehard. « Acting with the Berliner Ensemble ». New Theatre Quarterly 2, no 6 (mai 1986) : 99–105. http://dx.doi.org/10.1017/s0266464x00001998.
Texte intégralRésumé :
Ekkehard Schall, born in 1930, has been a member of the Berliner Ensemble since 1952, and is now among its leading players. He has also directed for the company, having first undertaken the production of Brecht's version of Edward II in 1974. During a visit to London in 1981. when he gave a one-man performance at Riverside Studios, he also visited Rose Bruford College, where, with his wife and fellow-player Barbara Brecht-Schall, he talked with staff and students of the school. During the discussion, chaired by Beth Chatten, he explained the practical application of concepts relating to Brechtian acting, and also described his own approach to such major roles as the Brecht-Shakespeare Coriolanus, which he first created for the Ensemble in 1964.
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PUGA, ROGÉRIO MIGUEL. « The First Museum in China : The British Museum of Macao (1829–1834) and its Contribution to Nineteenth-Century British Natural Science ». Journal of the Royal Asiatic Society 22, no 3-4 (octobre 2012) : 575–86. http://dx.doi.org/10.1017/s1356186312000430.
Texte intégralRésumé :
AbstractThis article establishes that the first museum in China was not the Zhendan Museum in Shanghai, founded by the French Jesuit Pierre Marie Heude (1836–1902) in 1868, but the “British Museum in China”, founded in 1829 by three supercargoes of the English East India Company, in Macao, a Portuguese enclave in the Pearl River Delta since c.1577. My research, based on Portuguese, British and American sources, allows us to better understand the context in which the founders of the museum interacted and lived in Macao, how their research and field-work was important for academic British institutions such as the British Museum in London and how the British Museum of Macao was founded and became the first (western-styled) museum in China.
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Breden, Simon. « The Influence of British Directors on the Fundación Siglo de Oro and its Productions of Early Modern Drama, 2007-2021 ». Revista Alicantina de Estudios Ingleses, no 37 (27 juillet 2022) : 105. http://dx.doi.org/10.14198/raei.2022.37.02.
Texte intégralRésumé :
The Fundación Siglo de Oro –formerly Compañía Rakatá– has been staging Spanish Golden Age and Elizabethan theatre since it was founded in 2006. Over this time, the company has developed an identity associated not only with its staging of early modern drama, but also with the influence of a series of contemporary British theatre practitioners on its rehearsal process. Perhaps one of the most noteworthy constants in its work is a fruitful series of collaborations with British stage directors, beginning in 2007 with Laurence Boswell directing El perro del hortelano (revived in 2014), in 2009 Fuenteovejuna, and in 2015 co-directing Mujeres y criados with company founder and producer Rodrigo Arribas. While, at first, we can ascribe this collaboration to the impact of the Royal Shakespeare Company Golden Age season, curated by Boswell, which visited Madrid’s emblematic Teatro Español in 2004, the company have continued to seek out British directors including Tim Hoare on Don Juan en Alcalá (2016) and Trabajos de amor perdidos (2016), and most recently Dominic Dromgoole on a new production of El perro del hortelano (2021). This latter partnership is also the culmination of a collaboration with Shakespeare’s Globe Theatre which saw the company take part in the Cultural Olympiad with Enrique VIII (2012) and become the first company to perform Lope de Vega in Spanish at the London theatre, with El castigo sin venganza (2014). There has therefore been a clear exchange of ideas between Spanish classical theatre and contemporary British theatre practice. This article proposes to explore the methodological contributions of British directors to better understand how this has altered the in-rehearsal perspectives on the Spanish Golden Age to explain the benefits of this Anglo-Hispanic collaborative approach to the company’s work. This will be supported by an interview with Rodrigo Arribas, whose constant presence as founder, producer, actor and most recently as director can help us to understand the contributions made by Boswell, Hoare and Dromgoole to the company’s rehearsal methodology.
34
Llorca-Jaña, Manuel. « CONNECTIONS AND NETWORKS IN SPAIN OF A LONDON MERCHANT-BANKER, 1800-1850 ». Revista de Historia Económica / Journal of Iberian and Latin American Economic History 31, no 3 (14 juin 2013) : 423–58. http://dx.doi.org/10.1017/s0212610913000098.
Texte intégralRésumé :
ABSTRACTThis paper deals with Anglo-Spanish trade and finances for the period c. 1810-1850. It concentrates on the business activities of a London merchant bank (Huth & Co. or Huth) with Spain during this period by paying special attention to the support given by Huth to the many bilateral trades between Spain and Britain in which the company participated. It also focuses on the support given by Huth to much trade in and out of Spanish ports but which did not go through British ports. This overall support included the provision of credit facilities, exchange rate brokerage, insurance services and commercial intelligence. In addition, the article covers the links between Huth and the Spanish crown, thanks to which the bank became an important conduit of Spanish investments in American securities before 1850. Huth was also the paymaster abroad for the Spanish state. In view of Huth's close connections to the Spanish economy during this period, it is perhaps surprising that this is the first study of this «Spanish» house in London.
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McDonald, Jayson, et Liz Snyder. « Adventures in the London (Ontario) Underground : A Review of The Adventures of the Boneyard Man ». Canadian Theatre Review 107 (juin 2001) : 90–91. http://dx.doi.org/10.3138/ctr.107.014.
Texte intégralRésumé :
A sparse stage. An announcer steps up to the microphone holding a headphone to one ear. He tells the audience that the show is on the air in “five, four” and then gestures three, two, one. The “Natural Broadcasting Company On Air” sign lights up and a guy in a hat plunks out a sinister sounding tune on the organ. Another announcer, this one wearing a black suit and holding an orange and yellow plastic reverberating child’s microphone, moves front and centre. He alludes to the evening’s plot in a sinister, dramatic tone and ends his spiel with an evil-sounding, drawn-out “mwahahahahaha.” The organ peals again, and the actors step up to the microphone with scripts in hand. The first scene begins.
36
Rawley, James A. « Richard Harris, Slave Trader Spokesman ». Albion 23, no 3 (1991) : 439–58. http://dx.doi.org/10.2307/4051111.
Texte intégralRésumé :
“So little is known of the separate traders,” lamented the historian of the Royal African Company, K. G. Davies, that he was reduced to perceptive speculation about their activity. The authority, Basil Williams, writing about the period 1714–1760, asserted, “The traffic in negro slaves was carried on mainly by the Royal African Company.…“ In actuality a great deal can be discovered about the separate traders and their activity. The papers of Humphry Morice provide a rich source for a merchant who was perhaps London's and Great Britain's foremost slave trader in the 1720s. The assertion that the traffic in Negro slaves was carried on mainly by the Royal African Company is easily refuted by materials in the Public Record Office. London separate traders dominated the trade for the first three decades of the eighteenth century giving way to Bristol traders in the 1730s, who in turn gave way to Liverpool ascendancy in the 1740s.The English slave trade between 1699 and 1729, energized by the end of monopoly and the booming international market for slaves in America, grew prodigiously. In these years England accounted for nearly one-half of all slaves exported from the west coast of Africa. London alone accounted for two-thirds of all slaves delivered by English ships.Although the period falls half a century and more before the classic exposition of the advantages of free trade over monopoly by Adam Smith, an English free trade doctrine had found expression in Sir Dudley North's pamphlet, Discourses upon Trade (1691), and parlimentary proceedings. Interlopers in the slave trade, smugglers in the lucrative Spanish-American trade who opposed parliamentary restriction on their activity, separate traders whose participation in the trade became legalized in 1698, and a variety of commercial, industrial, and planting interests all contributed in their fashion to an outlook favoring free trade in slaves.
37
Wolffe, John. « Plurality in the Capital : The Christian Responses to London’s Religious Minorities since 1800 ». Studies in Church History 51 (2015) : 232–58. http://dx.doi.org/10.1017/s042420840005021x.
Texte intégralRésumé :
On a late spring day in 1856 Prince Albert carried out one of the less routine royal engagements of the Victorian era, by laying the foundation stone of what was to become ‘The Strangers’ Home for Asiatics, Africans and South Sea Islanders’, located at Limehouse in the London docklands. The deputation receiving the prince was headed by the earl of Chichester, who was the First Church Estates Commissioner and president of the Church Missionary Society, and included Thomas Carr, formerly bishop of Bombay, Maharajah Duleep Singh, a Sikh convert to Christianity and a favourite of Queen Victoria, and William Henry Sykes, MP and chairman of the East India Company.
38
Basuony, Mohamed A. K. « Corporate governance : Does it matter for corporate social responsibility disclosure via website and social media by top listed UK companies ? » Corporate Ownership and Control 19, no 1 (2021) : 84–93. http://dx.doi.org/10.22495/cocv19i1art7.
Texte intégralRésumé :
This paper reports on the nature, extent, and determinants of online corporate social responsibility (CSR) disclosure practices among the top 350 companies listed in the London Stock Exchange (FTSE 350). This has been done through two-fold. First, the paper investigates the relationship between firm characteristics, board structure, and ownership structure with CSR information dissemination via social media. The results indicate that the company that has a high number of females on board has a significant effect on CSR and the product and service as a component of CSR. Moreover, the results reveal that the company with a high level of ownership concentration has an effect on community involvement, product and service, and environment. In addition, a company that has a high level of institutional ownership has an effect on the product and service. Finally, the company that has a high percentage of director ownership has an effect on the product and service. Second, the paper studies the effect of board structure and other control variables on the online CSR for the top listed UK firms. The dependent variables consist of a comprehensive index of disclosure and another four sub-indices which namely employees, community involvement, products & services, and environment. The results show that online CSR disclosure through the firms’ websites has been affected by board size, board diversity, audit type, profitability, leverage, firm age, and the sector in which the firm operates
39
Verma, Jatinder. « The Generations of the Diaspora and Multiculturalism in Britain ». New Theatre Quarterly 25, no 3 (août 2009) : 203–23. http://dx.doi.org/10.1017/s0266464x09000396.
Texte intégralRésumé :
Jatinder Verma founded Tara Arts in 1977 as a British-Asian company, the first of its kind in Britain. Its use of ‘Binglish’, a term coined by Verma to define the English of speakers belonging to the diaspora of the Indian subcontinent, is an integral part of Tara's identity, as he discussed in his commentary in NTQ52 (1997). This new interview, conducted in July 2008 and February 2009, focuses on issues to do with multiculturalism, engaging Verma in an in-depth discussion of this problematic and increasingly contested area and leading him to outline the artistic pursuits of his company. Special attention is given to the working processes of the Journey to the West trilogy (2002) and to the aesthetic principles driving it, which extend to other productions he has directed for Tara Arts, not least to his more recent transpositions of Ibsen and Shakespeare. A complete chronology of productions can be found on the Tara Arts webpage, www.tara-arts.com. The first part of this interview was published in Maria Shevtsova's Sociology of Theatre and Performance (Verona: QuiEdit, 2009), p. 359–71. She is Professor of Drama and Theatre Arts at Goldsmiths, University of London, and co-editor of New Theatre Quarterly.
40
Milhous, Judith, et Robert D. Hume. « The London Theatre Cartel of the 1720s : British Library Additional Charters 9306 and 9308 ». Theatre Survey 26, no 1 (mai 1985) : 21–37. http://dx.doi.org/10.1017/s0040557400000302.
Texte intégralRésumé :
One of the basic facts of eighteenth-century London theatre history is the disinclination of the managers of the patent theatres to engage in serious competition of any sort following the Licensing Act of 1737. This preference for peaceful coexistence was not, in fact, a new development: a strong inclination toward a modus vivendi can be proven as early as 1720. The evidence is a pair of almost entirely neglected manuscript charters (contracts) preserved in the British Library. In both instances we find the managers of the two theatres attempting to restrict actor transfers. The first contract (dating from September 1720) was apparently never formally concluded, but the second (dated April 1722) was duly signed and sealed, and evidently remained in effect until about 1730. Taken together, the two charters shed considerable light on the accommodation eventually reached between the two companies after the reestablishment of competition in 1714, and they also give us lists of performers in 1720 and 1722 that add significantly to the company rosters in The London Stage.
41
Kane, Angela. « HEROES AND VILLAINS : PAUL TAYLOR'S LE SACREDU PRINTEMPS (THE REHEARSAL) AND OTHER AMERICAN TALES ». Dance Research 17, no 2 (janvier 1999) : 47–72. http://dx.doi.org/10.3366/drs.1999.17.2.47.
Texte intégralRésumé :
Some of the ideas outlined below were first presented at the conference, Last Looks and First Words, in San Francisco in April 1999. The three-day conference coincided with a revival of Le Sacre du Printemps (The Rehearsal) at the Ycrba Buena Center for the Arts and it brought together dance critics, musicologists, and both current and former Taylor company personnel. I am indebted to many of the participants for their generous and insightful feedback during the conference, and most particularly to Ruth Andrien, Bettie de Jong, Richard Chen See, John Tomlinson and Mr. Taylor himself Also, I am extremely grateful to Lois Greenfield, Jack Mitchell and Jack Vartoogian for granting permission to use their photographs here and to my Rochampton colleague, Damian Day, who helped me to obtain a copy of the piano version of Sacre in London and to analyse the score.
42
Drever, John L., Aysegul Yildirim et Mattia Cobianchi. « London Street Noises : A Ground-Breaking Field Recording Campaign from 1928 ». Acoustics 3, no 1 (18 février 2021) : 118–36. http://dx.doi.org/10.3390/acoustics3010010.
Texte intégralRésumé :
In a leading article by Sir Percival Philips in the UK popular newspaper, the Daily Mail, July 16, 1928, came the following headlines: “Millions Lost by Noise – Cities’ Worst Plague – Menace to Nerves and Health – What is Being Done to Stop it”. The article was supported by research from Prof Henry J. Spooner, who had been researching and campaigning on the ill-effects of noise and its economic impact. The article sparked subsequent discussion and follow-up articles in the Daily Mail and its international partners. In an era of rapid technological change, that was on the cusp of implementing sound pressure measurements, the Daily Mail, in collaboration with the Columbia Graphophone Company Ltd, experimented with sound recording technology and commentary in the field to help communicate perceived loudness and identify the sources of “unnecessary noise”. This resulted in the making of series of environmental sound recordings from five locations across central London during September 1928, the findings of which were documented and discussed in the Daily Mail at the time, and two recordings commercially released by Columbia on shellac gramophone disc. This was probably the first concerted anti-noise campaign of this type and scale, requiring huge technological efforts. The regulatory bodies and politicians of the time reviewed and improved the policies around urban noise shortly after the presentation of the recordings, which were also broadcast from the BBC both nationally and internationally, and many members of the public congratulated and thanked the Daily Mail for such an initiative. Despite its unpreceded scale and impact, and the recent scholarly attention on the history of anti-noise campaigning, this paper charts and contextualises the Daily Mail’s London Street Noise campaign for the first time. As well as historical research, this data has also been used to start a longitudinal comparative study still underway, returning to make field recordings on the site on the 80th and 90th anniversaries and during the COVID-19 lockdown, and shared on the website londonstreetnoises.co.uk.
43
Mendle, Michael. « De facto freedom, de facto authority : press and parliament, 1640–1643 ». Historical Journal 38, no 2 (juin 1995) : 307–32. http://dx.doi.org/10.1017/s0018246x00019440.
Texte intégralRésumé :
ABSTRACTIn 1641 a century-long partnership of the crown and the London Stationers collapsed, leaving state control of the press and the Stationers’ interest in copyright in an extremely vulnerable situation. Tentatively at first and with growing assertiveness by 1642, the Lords and Commons revised and restated in their own interest the old partnership of the state and the Stationers; for their part, the Stationers worked hard to demonstrate their utility to the new regime and to preserve the privileges that allowed them to control the book business. The result of their joint efforts was the licensing ordinance of 1643, which critics, including John Milton, thought to be scarcely distinguishable from the Star Chamber decree of 1637, the high-water mark of the old regime. But the ordinance proved only partially successful. In the interim between regimes, there emerged a vigorous if vulgar tabloid journalism avant la lettre, sustained by an underclass of undisciplined elements of the Stationers’ Company, non-company interlopers and hawkers, and often youthful scribblers, several of them Cambridge drop-outs. Such engaging rascals no less than moralists like Milton had their share in acclimatizing the English to a press practically free of prior restraint.
44
Bes, Lennart. « Records in a Rival's Repository : Archives of the Dutch East India Company and Related Materials in the India Office Records (British Library), London (and the National Archives of Malaysia, Kuala Lumpur) ». Itinerario 31, no 3 (novembre 2007) : 16–38. http://dx.doi.org/10.1017/s0165115300001170.
Texte intégralRésumé :
AbstractTwo of the former so-called rival empires of trade in the Orient, the Dutch and the British with their respective East India Companies, are today friendly neighbours, closely co-operating both politically and economically. Their erstwhile mercantile rivalry in the East, however, is still reflected in the fact that part of the records of the Dutch East India Company (VOC) is nowadays kept in—of all places—the department of India Office Records at the British Library in London, the very repository of the archives of the British East India Company (EIC).This article presents an overview of the relatively unknown and unexplored materials derived, copied, or translated from the VOC and stored in that lion's den. Apart from a few miscellaneous papers, three groups of records will be described: the remaining archives of the VOC establishment at Melaka (in Malaysia), VOC documents in the Mackenzie collections, and relevant materials in the archives of the EIC. The bulk of the first group of records and parts of the second and third group are unique. In addition, the few Dutch records from Melaka that still remain in Malaysia will be dealt with in an Appendix.
45
Cohan, Robert. « Reminiscences and Reflections at Eighty ». Dance Research 22, no 2 (octobre 2004) : 101–38. http://dx.doi.org/10.3366/drs.2004.22.2.101.
Texte intégralRésumé :
The memoirs which follow, resulted from three extensive interviews (on 22 and 23 May 2004 in Nîmes, France, and on 23 July 2004 in London); the transcripts were then edited and submitted to Mr Cohan for amendment and approval. The text that follows is a full encapsulation of what was said, apart from a lengthy excursus on orientalism in Miss Graham's work and a shorter one on improvisation in dance. This is a personal account, not a connected history of Mr Cohan's activities: many episodes from a long and varied life in dance were not encompassed in the interviews, notably the dance company Robert Cohan formed after he left the Graham Company for the first time and the work in Broadway musicals that he also undertook at this stage of his performing career. The commentary on the Graham repertory and that of London Contemporary Dance Theatre (LCDT) is also indicative rather than exhaustive. Robert Cohan is aware of major episodes from the Graham years – such as the first Asian Tour – that form no part of this account. Similarly, he does not seek to retrace the ground so amply covered in the history of London Contemporary Dance Theatre. On the other hand, some of the subjects that did come up, have been discussed before – usually with some differences of emphasis or detail. But it is worth recalling in this regard that memory can exercise a refining and a condensing, as well, sometimes, as a distorting influence. In establishing the ‘truth’ about any matter it is as useful to have several accounts by the same witness as it is to have one account by several witnesses – just as in an epistolary novel by Richardson, an event looked at and described by the same person several times or by a number of different people, can produce a richer version of ‘reality’ than a single ‘definitive’ statement. Although every attempt has been made to rectify errors of minor detail, the decision has been taken not to provide any scholarly notes to the text. This contribution to the journal is best received as a primary historical document. Those seeking a chronological account of the events mentioned in the text, or further guidance on matters of detail, are referred to the standard works.
46
Taylor, James. « Privacy, Publicity, and Reputation : How the Press Regulated the Market in Nineteenth-Century England ». Business History Review 87, no 4 (2013) : 679–701. http://dx.doi.org/10.1017/s0007680513001098.
Texte intégralRésumé :
Many commentators believe that the business press “missed”thestory of the twenty-first century—the 2008 economic crisis. Condemned for being too close to the firms they were supposed to be holding to account, journalists failed in their duties to the public. Recent historical studies of business journalism present a similarly pessimistic picture. By contrast, this article stresses the importance of the press as a key intermediary of reputation in the nineteenth-century marketplace. In England, reporters played an instrumental role in opening up companies' general meetings to the public gaze and in warning investors of fraudulent businesses. This regulation by reputation was at least as important as company law in making the City of London a relatively safe place to do business by the start of the twentieth century.
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Filimonau, Viachaslau, et Sara Corradini. « Zero Hours Contracts and Their Perceived Impact On Job Motivation of Event Catering Staff ». Event Management 24, no 6 (20 novembre 2020) : 735–52. http://dx.doi.org/10.3727/152599519x15506259855869.
Texte intégralRésumé :
Catering is a cornerstone of events. Motivating catering staff, who can be either permanent or "hourly paid" employees, represents an important managerial challenge, especially in the UK, where controversial zero hours contracts (ZHCs) prevail within the events industry. This article reports a representative case study of a London-based event catering company that relies upon ZHCs. In pursuit of corporate social responsibility (CSR) goals, directed at enhancing the well-being of employees and improving corporate image, the company considers replacing ZHCs with alternative contracts, but wishes to examine the potential impact of this intervention first. To aid in decision making, 18 indepth, semistructured interviews are conducted with company's managers and employees to examine the drivers of staff motivation and the perceived effect of ZHCs. The study finds that interpersonal relationships, remuneration rates, and perceived fairness of managerial treatment drive staff motivation in event catering. The major positive (flexibility and no mutual obligation) and negative (job insecurity and instable income) implications of ZHCs are well understood by employees. The internal (personal finances, family status, and individual lifestyles) and environmental (current job market situation and managerial abilities) circumstances determine the level of preparedness and the degree of willingness of event catering staff to accept ZHCs. Implications for policy making, professional practice, and future research are discussed.
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Wemyss, Georgie. « White Memories, White Belonging : Competing Colonial Anniversaries in ‘Postcolonial’ East London ». Sociological Research Online 13, no 5 (septembre 2008) : 50–67. http://dx.doi.org/10.5153/sro.1801.
Texte intégralRésumé :
This paper explores how processes of remembering past events contribute to the construction of highly racialised local and national politics of belonging in the UK. Ethnographic research and contextualised discourse analysis are used to examine two colonial anniversaries remembered in 2006: the 1606 departure of English ‘settlers’ who built the first permanent English colony in North America at Jamestown, Virginia, and the 1806 opening of the East India Docks, half a century after the East India Company took control of Bengal following the battle of Polashi. Both events were associated with the Thames waterfront location of Blackwall in the east London borough of Tower Hamlets, an area with the highest Bengali population in Britain and significant links with North America through banks and businesses based at the regenerated Canary Wharf office complex. It investigates how discourses and events associated with these two specific anniversaries and with the recent ‘regeneration’ of Blackwall, contribute to the consolidation of the dominant ‘mercantile discourse’ about the British Empire, Britishness and belonging. Challenges to the dominant discourse of the ‘celebration’ of colonial settlement in North America by competing discourses of North American Indian and African American groups are contrasted with the lack of contest to discourses that ‘celebrate’ Empire stories in contemporary Britain. The paper argues that the ‘mercantile discourse’ in Britain works to construct a sense of mutual white belonging that links white Englishness with white Americaness through emphasising links between Blackwall and Jamestown and associating the values of ‘freedom and democracy’ with colonialism. At the same time British Bengali belonging is marginalised as links between Blackwall and Bengal and the violence and oppression of British colonialism are silenced. The paper concludes with an analysis of the contemporary mobilisation of the ‘mercantile discourse’ in influential social policy and ‘regeneration’ discourse about ‘The East End’.
49
Love, W. R. F. « Some references to Aboriginal life in the Moreton region from Stobart's Journal (1853) ». Queensland Archaeological Research 2 (1 janvier 1985) : 58–70. http://dx.doi.org/10.25120/qar.2.1985.195.
Texte intégralRésumé :
In the previous issue of Q.A.R. it was noted that G.K.E. Fairholme had three articles published in the Proceedings of the Zoological Society of London in 1856 (Love 1984:97). Further research indicated that these were based upon information obtained during a trip down Moreton Bay in the company of the Lord Montagu party in 1853. This was revealed in the extensive Letter-Journal prepared by the Reverend Henry Stobart M.A., Tutor to Lord Montagu (Stobart 1896). It was compiled from letters he sent home to his mother in England. The Moreton Bay trip included Stradbroke Island, St. Helena Island, Pine River entrance, Bribie Island, Durundur, the Bunya scrub and Nerang Creek. Like Fairholme, Stobart writes about local aboriginal culture and thus provides a rare set of first-hand notes of use to archaeologists and culture historian alike.
50
Ley, Graham. « Diaspora Space, the Regions, and British Asian Theatre ». New Theatre Quarterly 27, no 3 (août 2011) : 215–28. http://dx.doi.org/10.1017/s0266464x11000431.
Texte intégralRésumé :
In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asian Theatres: a Documented History and Critical Essays on British South Asian Theatre. He has earlier published in NTQ on Australian theatre and enlightenment and contemporary performance theory, and is presently Professor of Drama and Theory at the University of Exeter.