Night's Dream Research Articles

Hamlet by Shakespeare's Globe

Reviewed by: Hamletby Shakespeare's Globe Michael J. Collins HamletPresented at Shakespeare's Globe, London. 04 25- 08 26, 2018. Directed by Federay Holmes and Elle While. Designed by Ellan Parry. Music composed by James Maloney and directed by Adrian Woodward. Choreography by Sian Williams. Fights directed by Yarit Dor. With Catrin Aaron (Horatio), James Garnon (Claudius), Colin Hurley (Ghost/Grave-digger/Player), Bettrys Jones (Laertes/Player), Richard Katz (Polonius/Priest), Jack Laskey (Francisco/Player/Fortinbras), Nadia Nadarajah (Guildenstern), Pearce Quigley (Rosencrantz), Shubham Saraf (Ophelia/Osric), Helen Schlesinger (Gertrude), Michelle Terry (Hamlet), and Tanika Yearwood (Marcellus/Reynaldo/Player). Michelle Terry's Hamlet, her first production as Artistic Director of Shakespeare's Globe, seemed designed not simply to reflect the recent [End Page 691]change in leadership, but to reverse certain practices of her predecessor. Emma Rice, who served for two years as Artistic Director, resigned at the end of the 2017 season because the Globe's board found her productions, marked by strong directorial concepts and employing contemporary sound and lighting techniques, at odds with the organization's central tenets. At the start of her Twelfth Nightin 2017, for example, the cast on the SS Unity, prior to the shipwreck, sang along with a recording of Sister Sledge's We are Familyas they danced up and down a gangplank that extended diagonally from the balcony to the stage. Hamlet, on the other hand, was played throughout on an entirely bare stage. The balcony was used primarily for a brass ensemble that appeared intermittently during the production to provide sound effects (flourishes at the King's entrance, for example). No stairs led from the stage to the yard, as is often the case at the Globe, and thus no exits and entrances were made through it and no action took place in it. Although two directors were credited in the program, the production was shaped by the actors and the creative team working openly (members of the Globe staff and visiting students attended the rehearsals) and collaboratively over ten weeks on both Hamletand As You Like It, in an attempt to replicate, in contemporary terms, the rehearsal process of Shakespeare's company. As Elle While described it in the program, "the worlds of the plays have evolved out of our interaction with each other and the texts. The task has then been to develop the threads that tie our ideas together." With only twelve actors, equally divided between male and female, some cross-gender casting was not just inevitable, but a deliberate choice. Hamlet, Horatio, and Laertes were played by women. Guildenstern was also played by a woman who is Deaf: she signed her lines with Rosen-crantz acting as her interpreter. Gertrude and Hamlet also communicated with Guildenstern through British Sign Language. Ophelia was played by a young man and Rosencrantz by a man who looked old enough to be Hamlet's father. While imagination, as Theseus reminds us ( A Midsummer Night's Dream, 5.1.209), must always to some degree amend what it encounters on the stage, the production, in an admirable attempt to embrace diversity in its casting across age, gender, and disability, went further than most in challenging literal renditions of characters and lines. The discrepancy in height between the diminutive female actor who played Laertes and the tall, thin male actor who played Ophelia led to some unintentional comedy (and laughter from the audience), as did Laertes's reference to Ophelia's "chaste treasure" (1.3.30). The King, following the script in [End Page 692]3.4.250, called "Ho, Guildenstern" through the door on the right to bring Guildenstern on to the stage, although Guildenstern would have been unable to hear him. The gray-bearded Rosencrantz did not in any way suggest that he was, as Claudius puts it, "neighbored" to Hamlet's youth (2.2.12). Perhaps the point of the casting was not simply to provide a new way for the actors to replicate the conditions of Shakespeare's theater, but also to extend this replication to an audience watching an ensemble of actors performing a play. The production, for the most part, let much of...

Association of sleep disorders with headache

The aim of the present study was to investigate the connection of sleep disorders (SD) with a headache (HA) among the representative sample of population. 1115 inhabitants of Chuvashia (491 men and 624 women) aged from 18 to 70 years old have been interviewed (middle age 38.7±13.9 years old); respondents under 18 and over 70 years old were not included into the research. There were 690 city residents, and 425 residents of the rural areas. The questionnaire approved earlier in the research of HA, and also the questions directed to identification of SD were used. One-way ANOVA, Chi-square test were used to compare variables of the groups. There were 718 (64.4%) respondents with SD and HA (the main group), 366 (23.8%) with HA without SD (comparative group), 16 (1.4%) with SD without HA, and 15 (1.3%) without SD and HA. The main group of the respondents authentically differed from other groups in older age, a larger number of women and villagers, presence of concomitant diseases in them. In the respondents with SD arose more often, pain had the combined (polymorphic) character, HA were more severe, localized in several areas of the head, but were of smaller duration. Among them there were more people with short sleep duration (<5 hours of night dream) and accepting sedative-hypnotic medications. HA without SD had a pricking character more often; the respondents more often slept in the afternoon, differed in higher level of education, and a rarer occurrence of cases of the increased arterial pressure. SD are often connected with HA, with their frequency, expressiveness and localization. Development of SD from HA are influenced by existence of concomitant diseases, age, gender and the place a residence. SD make the current of HA more severe.

Enter the Clowns: Adapting Shakespeare after 1642

Abstract This paper focuses on the genre of drolls as they were compiled in Francis Kirkman‘s collection The Wits or Sport upon Sport, published in 1672 and 1673. The anthology includes scenes from Hamlet or A Midsummer Night's Dream and draws upon characters like Falstaff and others. By description and analysis of these dramatic pieces, I would like to draw one's attention to the genre that is almost unknown to the history of English speaking drama. This article focuses on the process of rethinking Shakespeare so as not only to entertain people in the critical period of English history, but also to preserve the dramatic conventions that William Shakespeare and his contemporaries created. It also considers the changes the authors of the drolls made when adapting the parent plays of William Shakespeare.

“This is you”: Encountering Shakespeare with Tim Crouch

This essay considers Tim Crouch's Shakespeare, a suite of monologue plays based on Tempest (I, Caliban, 2003), A Midsummer Night's Dream (I, Peaseblossom, 2004), Macbeth (I, Banquo, 2005), Twelfth Night (I, Malvolio, 2010) and Julius Caesar (I, Cinna (the poet), 2012). While originally designed for a young audience, Crouch's adaptations have been performed in a variety of theatrical contexts that have added new and probably unforeseen dimensions to their negotiations with Shakespeare. In my analysis I turn to the notion of mobility as a key analytical tool to elucidate the method, aims, as well as the broader cultural meaning of Tim Crouch's reworkings. In his hands, Shakespeare is mobilized as a powerful resource to activate spectators and emphasize their co-authorship in the process of theatre. Through a combination of textual strategies and performance methods, the monologues construct the identities of Shakespeare's characters as multiple and mutable and, in parallel, cast their addressees in fluid, often contradictory roles. My main line of argument is that the plays' propensity of motion is rooted in their emphasis on Shakespeare as a highly mobile cultural signifier which seems confirmed by the monologues' journeys outside the UK. The further adaptational practices triggered by these encounters with foreign audiences are testament to the flexibility of Crouch's dramaturgy of process and its aptitude to accommodate new discursive identities and adjust to each new context of reception.

Tender A Night Dream, September 2013

Tender A Night Dream, September 2013

'Shadows' Shadows' in "A Midsummer Night's Dream"

'Shadows' Shadows' in "A Midsummer Night's Dream"

“He'll / Seem to Break Loose” in A MIDSUMMER NIGHT'S DREAM

The Arden editor of A Midsummer Night's Dream has remarked that Act III, Scene ii, ll. 257–58 “would be obelized as corrupt, if it were Arden practice so to mark a crux for which no sufficiently ac...

Cardiometabolic prevention in Romania: a midsummer night's dream?

Cardiometabolic prevention in Romania: a midsummer night's dream?

Ovid's Myth of Salmacis and Hermaphroditus in Shakespeare's A Midsummer Night's Dream

The figure of the hermaphrodite was a complex symbol in the early modern era. Drawing on the myth of Salmacis and Hermaphroditus in Ovid's Metamorphoses, Shakespeare in A Midsummer Night's Dream uses erotic images of sexual entwinement, images that specifically invoke the mythical creation of the Ovidian man-woman, to suggest a range of sexual identifications. The hermaphroditic images in Shakespeare's play not only point to a cultural fear of powerful females who, like Salmacis, have the capacity to overpower men but also indicate male sovereignty in the spiritual joining of the male/female body in marriage.

A Midsummer Night's Dream by William Shakespeare

A Midsummer Night's Dream by William Shakespeare

Four Women in the Woods: An Ecofeminist Look at the Forest as Home

Four Women in the Woods:An Ecofeminist Look at the Forest as Home Catherine Diamond (bio) In 2002, Futerra, a British media company advocating sustainability, launched "The Seasons Alter," a four-minute video of Titania's "bad weather" speech. Played by two actresses, Titania chides the surly Oberon, chasing him around the sparse modernist set dominated by an enormous clock. He responds to her recital of environmental disasters stemming from their quarrel by placing the onus on her: "Do you amend it then: it lies in you." She then repeats her own last line more forcefully: "We are their parents and original."1 Formerly, directors were wont to shorten this speech—the longest in the play—because its serious topicality broke the spell of comic fantasy. Futerra, by extracting its prescient relevance to the contemporary global warming crisis, thrust A Midsummer Night's Dream into the Anthropocene.2 By posing their fault equally, however, Futerra obscures the ethicality of their respective positions. It places Titania's commitments to rectifying the weather patterns upon which farmers depend and nurturing her votaress's child on the same level as Oberon's whim, an expression of power invested in him by a patriarchal hierarchy. Their debate also puts the Fairy Queen's concern for the world's inhabitants in conflict with her maternal affection for one particular child. She is not allowed by Oberon to love both. By trickery, he obtains the changeling, quells her rebellion, and reabsorbs her into his hierarchal order. However, Titania's challenge to his rule lingers from the image of her loving command over the forest dwellers, a delicate dream of an alternative relationship, of a possible something else. Titania's importance in the play and the expansive expression of her values and desires demonstrates one woman's conflict between her loyalty to nature and to her husband/king. Three other female characters in classical dramas also face similar dilemmas of having to choose between [End Page 71] their identities associated with forest life and their roles in patriarchal societies: Sakuntala in Kalidasa's eponymous fifth century Sanskrit play, Neang Seda (Sita) in the Reamker, the eighteenth century Cambodian version of the Sanskrit Ramayana,3 and Shakespeare's Rosalind in As You Like It. All four are unusual in that they are aristocratic women who spend the duration of their respective dramas in forests. Ecofeminism Their conflicts reprise one of the major concerns of ecofeminism that examines the "important connections between the oppression of women and the destruction and misuse of nonhuman nature within male-dominated cultures."4 This general formulation does not specify the important connections, but Karla Armbruster adds, "central to the ecofeminist agenda is the goal of individual, social, and ideological change—specifically, change that will improve the cultural standing of women and nature."5 She implies that the hierarchy of dualisms that divide the world and valorize the male side, such as nature/female and culture/male, has to be dissolved to allow more nuanced interconnections. These artificial divisions, with their concomitant ramifying dyads, were imposed not only to simplify, dominate, and unify the multiplicity of life forms, but also to justify that domination as the natural order. The mutual exclusivity of dualisms has been harmful to both halves, and ecofeminism challenges the gendered essentializing of qualities. It critiques those expected of women that perpetuate the notion that they are somehow physically and emotionally closer to nature, in contradistinction to mind, reason, and the scientific method, and that this association invalidates their environmental knowledge and concern. "Inherent in ecofeminism," writes Barbara Gates, "is a belief in the interconnectedness of all living things. Since all life is nature, no part of it can be closer than another to 'nature.'"6 At the same time, it must account for women's historical roles as nurturing caregivers and the current focus of agencies dedicated to poverty eradication by empowering poor women to protect their own environment. Moreover, ecofeminism challenges the cultural construction of "nature" within the humanist project of mapping the world as well as the aesthetic melding of women and landscape within a sexualizing gaze of Western art. Pleasures of the land and body have to...

The Local and Global East India Company

The Local and Global East India Company Jyotsna Singh (bio) I begin with some evocations of personal, intellectual, and cultural "journeys" that have involved early modern Anglo-Indian encounters as they are represented in the travel narratives of Thomas Roe, Edward Terry, and Thomas Coryate—studies of which began in the mid to late 1980s. As a student of Renaissance studies, which at the time was a largely Eurocentric cultural formation, I was surprised and heartened to "travel" beyond the confines of the European world and look afresh at India through the eyewitness accounts of these early travelers, all of whom were directly or indirectly affiliated with the East India Company. Thomas Coryate (Traveller for the English Wits [1616], Mr. Thomas Coriat to his Friends in England Sendeth Greeting [1618]) was not a functionary, but a supplicant and "hanger on" of the East India Company during its first years in India. Writing from Agra, the dominion of the Great Mughal Jahangir, Coryate left behind an idiosyncratic personal memoir and cultural text that invoked both the local and global with a refreshing chutzpah. Thomas Roe was King James' ambassador in the Court of the Great Mughal and also a representative of the Company interests, as reflected in his journals and letter, later published as The Embassy of Sir Thomas Roe to India 1615–1619. And Edward Terry also traveled at the behest of the Company as an accompanying chaplain to Ambassador Roe, and left us his rich account of his stay, published later as A Voyage to East India (1655). The imperatives of promoting English trade in Mughal India are conjoined with these travelers' complex and mixed reactions to the culture and society of India, often framed by the Christian view that their hosts were unbelievers and infidels. Since the 1980s, the postcolonial "turn" in English studies has influenced [End Page 121] early modern studies, opening up sixteenth- and seventeenth-century travel archives such as those above, while re-evaluating racial, sexual, ethnic, and religious inflections within early modern literary works. A case in point: the seemingly innocuous "Indian boy" in A Midsummer Night's Dream now globalizes the play, taking it to Indian shores. Directors and critics today offer distinctly global productions of the play which take into account the early modern English engagements with East India. And the 2016 production of the play at the Globe Theatre locates the action in a culturally Indian world! Thus we are at a promising moment in early modern studies, with the convergence of the literary, historical, and ethnographic in reappraisals of cross-cultural interactions—and what constitutes the boundaries of Renaissance England. These shifts in turn have complicated and pluralized the empirical—mostly economic and political—histories of the East India Company, often doing so by recovering new stories about the actors who were brought to the shores of various East India locations as well as the native interlocutors such as translators, traders, and in few cases wives, who all functioned and often interacted under the auspices of the Company.1 The local, the quotidian, the commonplace have begun to constitute a new prism through which the East India Company's global workings are coming to light in novel ways. This collection of essays expands the parameters of this research by, for instance, including the the VOC (Dutch East India Company) and by examining the East India Company's failed forays in Japan. In all instances, while we learn of the knowledge-production imperatives accompanying the commercial and political endeavors of the trading entity, we can also view the cultural and affective mediations of individual actors in the activities of the company. Thus this special issue of JEMCS, I believe, gestures toward a historiographical shift, pushing beyond the ubiquitous trope of the cross-cultural, face-to-face encounters between Europeans and the East Indian actors; the fixity of this trope falls apart along shifting chronologies that include a range of interactions, and this instability is evident in a theatricalized history of Anglo/European-Indian encounters under the auspices of the East India Company. Following and expanding on the imperatives of this volume, I want to reflect further on the possibilities of "connected...

Indifference to Difference: On Queer Universalism by Madhavi Menon

Indifference to Difference: On Queer Universalism by Madhavi Menon Ali-Reza Mirsajadi Indifference to Difference: On Queer Universalism. By Madhavi Menon. U of Minnesota P, 2015. Cloth $87.50, Paper $25.00. 142 Pages. Madhavi Menon's latest book is as an illuminating critique on the problematic ideology of identitarian politics and theory. Although Indifference to Difference deals most intimately with the ongoing debates within queer theory and LGBTQ rights, Menon's radical argument translates effortlessly to any identity-based field of inquiry. The crux of this book centers on the philosophical debate between particularism and universalism and its application within our contemporary discourse on identity. Especially in the arena of sexuality politics, which has historically insisted on explicating sexual identities and subsequently including each freshly-minted one within the acronymic alphabet soup (LGBTQ+), the power and perils of "naming" have been deeply felt. As Menon powerfully argues in her introduction, "Identity is the demand made by power—tell us who you are so we can tell you what you can do. And by complying with that demand, by parsing endlessly the particulars that make our identity different from one another's, we are slotting into a power structure, not dismantling it" (2). Although Menon's interventions within identity theory and politics are not entirely novel, Indifference to Difference artfully deconstructs identitarian labels through the lens of queer desire in a way that feels fresh and exciting. Menon begins dismantling this flawed system in her introduction, which labors in parsing the dense philosophical jargon of critical literary theory. Building off the identity theories of Ernesto Laclau, Eric Lott, Linda Zerilli, Karl Marx, G.W.F. Hegel, and most importantly, Alain Badiou, Menon argues for a theory of universalism that is loaded with particularity and identity, and most importantly, is indifferent to difference. She terms this "queer universalism," since queerness as [End Page 138] a marker not only expresses that desire which defies identitarian limits, but as she explains, "Everything is queer because no-thing—peoples, events, desires—can achieve ontological wholeness" (19). Menon's "queer universalism," then, would be defined as "indifferent to ontology—it does not give us particular identities, considering instead all identities as not fully determined, or knowable, in short, as queer" (20). While the introduction has the fiery determination of a manifesto, a rallying cry for true intersectionality in scholarship and activism, her three body chapters are less consistently successful in explaining the utility of this new theoretical framework, especially as it applies to theatre and the performing body. In chapter 1, "Out of Africa: Yinka Shonibare's Museum of Desire," Menon explores the art installations and paintings of Yinka Shonibare MBE, whose work challenges audiences' expectations and identitarian limits through infusing scenes of antiquated Western sophistication with bodies of color, sexual gratuity, and postcolonial critiques. Menon uses Shonibare's work to brilliantly dismantle the ideal of multiculturalism, arguing that this obsession with difference and bodily legibility is in fact rooted in institutions of power and the lingering oppression of colonialism. Chapter 2, "Disembodying the Cause: Shakespeare's Dramatic Elisions," positions Menon's reading of queer universalism within her particular area of specialty, Shakespeare and sexuality. This chapter hones in on the idea of desire, or in Menon's word, "that which in every instance hollows out ontology" (16), and its relation to identity categories. Primarily focusing on the Indian boy in A Midsummer Night's Dream and Desdemona's murder in Othello, Menon presents desire as an ineffable phenomenon which depends on its own immateriality, absence, and lack of finite origin to exist. Although the chapter is compellingly written, it does not contribute as fruitfully to Menon's thesis on queer universalism as do the other chapters, which unfortunately disrupts the flow of the book. With chapter 3, "Lesbians without Borders: The Story of Dastangoi," Menon ventures into the realm of theatrical performance and reception studies. Menon uses "Shahzadeh Chouboli Boli," a modern play based on a centuries-old storytelling tradition in Delhi, as a case study to explore how queer universalism can be used in practice, both by artists and audiences. This section beautifully chronicles the history of dastangoi and its relationship with theatre...

Secret Arts and Public Spectacles: The Parameters of Elizabethan Magic

Barbara A. Mowat's essay Prospero's Book, published in Shakespeare Quarterly in 2001, discusses an Elizabethan manuscript conjuring book, a grimoire, in the Folger Shakespeare Library's collection that has significant relevance to Shakespeare through its obvious relation not only to The Tempest but also to A Midsummer Night's Dream , since one of the spirits raised through its spells is Oberon. Secret Arts and Public Spectacles contextualizes the Folger's grimoire through the much more mundane and ubiquitous books of secrets in the period, handbooks of natural magic that teach ordinary householders the arts that will enable them to protect their property, cure ailments, and especially, over and over, keep them safe from enchantment. Enchantment in these books is everywhere and is a constant danger. The Elizabethan world was full of magic.

Parody as re-use and parody as laughing: three exemplary cases of forgery in the musical theatre

In the musical field 'parody' means first of all the borrowing of themes or whole compositions in the polyphonic practice (Missa parodia) during the 15th-18th centuries: these re-use is absolutely serious and the new work can be understood without recognizing the parodied object.The paper focusses on the other meaning of the word: the parody as ironic citation or deformation of a preexistent style, thematic or harmonic idea, which come into being in the second half of the 18th century. This second use presupposes that the listener recognizes the parodic reference and knows the parodied object; it frequently occurres in the musical theatre, particularly in the comic opera: three interesting examples are in Verdi's Falstaff (parody of liturgy), Cornelius' Barbier von Bagdad(parody of belcanto) and Britten's Midsummer Night's Dream (parody on the parody). Analysing these scores on the one hand, basing on Genette's fundamental essay Palimpsestes on the other hand, we try to show the mechanism of the musical parody and to classificate some different typologies.

Small but mighty: how minor components drive major biogeochemical cycles.

Small but mighty: how minor components drive major biogeochemical cycles.

ISYKALIYAH TARJAMAH AL-NUSHUS AL-ADABIYAH AL-INJLIZIYAH ILA AL-LUGHAH AL-'ARABIYAH

This study aims to shed light on the application of translation in translating literary texts. It also attempts to discuss this specialized art based on the problems of translating literary texts faced by the students especially from English to Arabic. The researcher adopted the descriptive and analytical methodologies where she has given a full account of Arabic and English culture backgrounds as well as literary genres of these two languages. In addition, the researcher analyzes a number of 21 students’ perceptions about William Shakespeare’s “A Midsummer’s Night Dream” which translated from English into Arabic and their difficulties in understanding the meaning of the text. The results of the study have shown that most of the respondents enjoyed reading translated literary texts from English to Arabic even though they encountered some difficulties to understand the meaning. They also believe that reading translated literary texts will enhance their language competency and vocabulary. DOI : 10.15408/a.v3i1.3188

Impossible is Real

In 1967 Tadeusz Kantor with a group of other Polish avant-garde artists delivered Panoramic Sea Happening. They were working in frames of artistic plain-air in Osieki (near Koszalin) organized there every year since 1963. This complex action was in a way a preface to Kantor’s theatre. But it was also parallel to actions of Western artists, which led to the birth of performance art. In this important moment Kantor formulated a category of impossible. It derived from the night dream but as this one was compromised Kantor wanted to use a new word: ‘impossible’. At the same time the very essence of the happening, as he was saying, was to make impossible real. How did he do it? By reenactment, repetition and documentation. These three categories, as they are understood in today’s performance studies, are the key categories for my analysis. I show that the category of impossible is strictly connected to the space that Kantor discovered at the seaside. Those repetitions and returns that are so characteristic for his theatre derive from experience of space—impossible, oppressive and releasing at the same time. At the end I propose an argument. The experience of the sea leads Kantor to theatre—to this old, anachronistic, already-dead medium. But from this perspective theatre (and performance) can be seen as a medium based on repetition and return. Seen from the seaside it is not ephemeral and disappearing anymore. It is entangled in the never-ending game of repetitions, reenactments and returns. In Kantor’s happening the alternative definition of performance is born and it is strictly connected with the experience of sea.

Early Modern Intertextuality: Post Structuralism, Narrative Systems, and A Midsummer Night's Dream

AbstractCentral to both early modern critical study and the theory of intertextuality are concepts such as the plurality of discourse, the mutually informing relationship between cultural ideologies and texts, and the instability of texts. Following revised critical approaches, this essay argues that there is potential in the direct application and exploration of the theory of intertextuality in early modern literature, particularly in the sense of engagement with and the extensive refiguring of elements from available narrative systems including classical mythology, folklore, and contemporary continental writing through allegory, allusion, and translation. Critical consideration of reading, creative imitation, and interpretative variety are central to both fields. This essay argues that these central aspects of early modern creative writing constitute a valid application of intertextual theory, which can be used to generate detailed and multilayered critical readings. It outlines an understanding of intertextuality, demonstrates how the theory is illustrated both in the period and in inherited classical textual theory, and offers a brief applied case study, reading Shakespeare's A Midsummer Night's Dream (1595) as an overtly intertextual text.

The Baltic House Theatre Festival, St Petersburg: Twenty-Five Years On

One of the most important theatre festivals in Russia, the Baltic House Theatre Festival has a well-defined focus, as its name suggests. During the twenty-five years of its existence, it has showcased and in other ways nurtured and encouraged some of the greatest talents – actors, directors, designers – of the Baltic region. It has invited such leading directors as Eimuntas Nekrosius to prepare and rehearse works in its theatre – in the case of Boris Godunov in 2015, performed by the National Theatre of Vilnius. The Festival has also financed co-productions, to extend the reach of its own theatre and develop young audiences, inviting, for example, Luk Perceval and Silviu Purcarete to mount Macbeth (2014) and A Midsummer Night's Dream (2015), respectively, with the Baltic House company. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London