Royal Holloway College Research Articles

A Contemporary Electoral Map: Occupation and Votes in Mid‐Eighteenth Century Haslemere.*

Parliamentary HistoryVolume 16, Issue 3 p. 331-338 A Contemporary Electoral Map: Occupation and Votes in Mid-Eighteenth Century Haslemere.* M. E. CLAYTON, M. E. CLAYTONSearch for more papers by this author M. E. CLAYTON, M. E. CLAYTONSearch for more papers by this author First published: 17 March 2008 https://doi.org/10.1111/j.1750-0206.1997.tb00580.x † *I wish to thank Penelope Corfield of Royal Holloway College for her advice on, and her enthusiasm for this note. For further information on the electoral politics of eighteenth century Haslemere see M. E. Clayton, ‘Elections and Electioneering in Haslemere, 1715–80’ (University of London M. Phil. 1993) and idem, ‘Voter Choice in a Patronage Borough: Haslemere, 1754–80’ante, XV (1996). Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume16, Issue3October 1997Pages 331-338 RelatedInformation

SHORTER NOTICES

SHORTER NOTICES Get access J. A. I. CHAMPION J. A. I. CHAMPION Royal Holloway College, University of London Search for other works by this author on: Oxford Academic Google Scholar The English Historical Review, Volume CXII, Issue 448, September 1997, Pages 982–983, https://doi.org/10.1093/ehr/CXII.448.982 Published: 01 September 1997

New publications in Dutch on music before 1700 and a newly discovered 15th-century Dutch manuscript with songs

New publications in Dutch on music before 1700 and a newly discovered 15th-century Dutch manuscript with songs Get access Barbara Haggh Barbara Haggh Barbbara Haggh is a research fellow of the Leverhulme Foundation at Royal Holloway College, University of London, and is preparing a book on music in Ghent in the later Middle Ages. Search for other works by this author on: Oxford Academic Google Scholar Early Music, Volume XXV, Issue 1, February 1997, Pages 121–130, https://doi.org/10.1093/earlyj/XXV.1.121 Published: 01 February 1997

THE FIRST FEMALE PROFESSIONAL SINGERS: MADAM CONIACK

Journal Article The First Female Professional Singers: Madam Coniack Get access Roy Booth Roy Booth Royal Holloway College Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 44, Issue 4, December 1997, Page 533, https://doi.org/10.1093/notesj/44.4.533 Published: 01 December 1997

SHORTER NOTICES

SHORTER NOTICES Get access JONATHAN PHILLIPS JONATHAN PHILLIPS Royal Holloway University of London Search for other works by this author on: Oxford Academic Google Scholar The English Historical Review, Volume CXI, Issue 444, November 1996, Pages 1239–1240, https://doi.org/10.1093/ehr/CXI.444.1239 Published: 01 November 1996

Identities, Citizenship and Power in the Cities

In this introduction to selected papers from the Tenth Urban Change and Conflict Conference (UCC), held at Royal Holloway University of London in September 1995, we offer some thoughts on the contemporary health of urban studies. UCC conferences have always been characterised by their commitment to analysing the social relations of (political) oppression and domination which underpin the dynamics of cities. This has entailed some commitment to political economy yet, in recent years, the so-called 'interpretative' turn has challenged the relevance of political economy approaches to the study of cities. However, the papers presented at the Tenth UCC conference point towards the importance of (re)engaging with political economy and with recognising the ways in which a political economy of urbanism is able to capture the complexities of contemporary social and economic life.

Book Reviews

Book Reviews Get access WALTER SCOTT TRAVESTI WALTER SCOTT TRAVESTI Royal Holloway College University ofLondon Search for other works by this author on: Oxford Academic Google Scholar Essays in Criticism, Volume XLVI, Issue 4, October 1996, Pages 340–358, https://doi.org/10.1093/eic/XLVI.4.340 Published: 01 October 1996

The Light at the Bottom of the Ocean

T housands of meters below the ocean waves, an exotic source of light shines softly in the stygian depths. Though imperceptible to human eyes, this pale illumination has nonetheless served as a beacon, drawing biologists, physicists, and chemists down to the seafloor in search of an explanation for the enigmatic shimmer. Discovered 8 years ago, the light issues from ridge-top vents that spew out volcanically heated brines laden with metals and caustic compounds. At first, scientists attributed the light to thermal radiation emitted by the 350?C water, much as hot electric elements on a stove give off an angry orange glow. But recent measurements conducted from the submersible Alvin reveal that thermal radiation alone cannot explain the light. What's more, the new data suggest that there might be enough light to power photosynthesis on the ocean floor-which would make it the first known case of photosynthesis divorced from the sun's rays. They've got some very funny light down there. There are some very odd and interesting things going on, and we do not understand them, says Euan G. Nisbet, a marine geologist at Royal Holloway College in Egham, England. Cindy Lee Van Dover, a marine biologist at the University of Alaska, Fairbanks, first found evidence of the light in the late 1980s, while studying a seemingly blind species of shrimp, Rimicaris exoculata, discovered just a few years earlier. These shrimps swarm around hydrothermal vents on the volcanically active midAtlantic ridge, which forms part of an underwater mountain range encircling the planet like the seam on a baseball. Oceanographers had named the shrimp exoculata because it appeared to lack eyes, but Van Dover and her colleagues discovered that the animal actually does have vision organs, just not in the usual place. Instead of eyes attached to its head, R. exoculata has evolved oversized light-sensing patches on the back of its shell (SN: 2/11/89, p. 90). Suspecting that the shrimp uses these eyes to see light coming from the hydrothermal vents, Van Dover, Milton Smith, and John R. Delaney of the University of Washington in Seattle and their colleagues made a rough attempt to take digital pictures of the hot plumes. Although far from ideal, their camera recorded an

Tenth Urban Change and Conflict Conference, Royal Holloway and Bedford College, September 1995

Tenth Urban Change and Conflict Conference, Royal Holloway and Bedford College, September 1995

The Lewes Bonfire Festival

The Lewes Bonfire Festival is an important piece of popular theatre, which has largely resisted attempts by higher authority to control and redefine it. Annually some 2,000 costumed participants, watched by up to 80,000 spectators, take over the streets of the usually staid county town of East Sussex, and effigies of contemporary politicians and of the Pope are burnt during six hours of carnivalesque rule. Here, David Wiles analyzes the history and organizational structure of the festival, and examines the ideology of Englishness upon which the event turns. David Wiles is Reader in Drama at Royal Holloway College, University of London. His interest in popular theatre has principally been historical, and he has published books on the Robin Hood play and on the Elizabethan clown. Most recently, in Shakespeare's Almanac (D. S. Brewer, 1993) he has explored the structural logic of the festive calendar.

A OOR MAN'S ‘WHAT SHALL I DO?’

Journal Article A OOR MAN'S ‘WHAT SHALL I DO?’ Get access DAVID WILES DAVID WILES Royal Holloway College, University Of London Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 41, Issue 4, December 1994, Pages 452–455, https://doi.org/10.1093/nq/41-4-452 Published: 01 December 1994

Oral Streptococci as Opportunistic Pathogens

Report of a Workshop Organised by the Oral Microbiology and Immunology Group (OMIG) of the British Society for Dental Research (BSDR) at The Royal Holloway and Bedford New College, University of London, on 31 March 1993.

Working in the Margin: Women in Theatre History

This is the text – appropriately, a ‘performance text’ – of the inaugural lecture delivered at Royal Holloway College, University of London, on 9 March 1993, by Jacky Bratton, following her appointment as Professor of Theatre and Cultural History. Although she holds her chair at a former women's college, Jacky Bratton reflects that the introduction of co-education in such institutions has in practice left them as male-dominated as the rest. Ironically, this continued marginalizing of women in academic life reflects the common view of theatre studies as itself a marginal discipline – almost as suspect as Jacky Bratton's own specialist concern with its more popular aspects. Looking at the ways in which women have been marginalized within theatre history, she challenges in particular the received wisdom that the alleged ‘decline of the drama’ in the nineteenth century was reversed by a striving for respectability usually traced to the rattle of cups-and-saucers on box sets, and apotheosized in Irving's knighthood: instead, she reflects upon the radical impulses of earlier nineteenth-century theatre, and at the ways in which the gender of three women who worked within it influenced their theatrical careers, their social standing, and their own attitudes towards both.

Focus: Edinburgh: The media: help or hindrance to medicine?

Opinion polls continue to rate doctors right at the top in the eyes of the public, way above estate agents and car salesmen and also above journalists. But how much does the medical profession owe to the media in maintaining this position and how have relations between the two changed? While agreeing that newspapers, television, and the radio now played a much greater role in reporting medical stories, speakers at the recent meeting of the BMA's Junior Members Forum in Edinburgh had different answers influenced by their jobs or personal experience. Some doctors now feel that they are being tried by the media and with health considered more as a commodity more medical decisions are being questioned. This is the view of Dr Jonathan Gabe, a senior research fellow at Royal Holloway University, London. The patient's charter has encouraged more people to complain and litigation has increased. He doesn't think …

The Moon Belongs to Everyone: Making Theatre with 7:84 by Elizabeth MacLennan, and: The Bone Won't Break: On Theatre and Hope in Hard Times by John McGrath (review)

Book Reviews up a "Laboratory," nor has he sought to build up a permanent company. His work has been carried out within the constraints that afe normal for the professional theatre in Poland. But this does not mean that he has shunned experiment: his production of The Idiot, for example, was al~ost entirely improvised and never used the same sequence of scenes from one night to the next. In fact, his work for the theatre has often proved to be more experimental than his work for film. In 1984 he said: "I try never to mix the two [film and theatre), When I am working in the theatre. I look for the theatrical. For me a theatre is a convention, the relationship between the actors and a live audience." True to this principle. his productions have constantly experimented with the playing space and its relalionship to the audience space. For The Idiot, he even opened up the rehearsals to an audience. This is an unusually sensitive and complex assessment of a director's work. Maciej Karpinski is well-placed 1 0 write such a study, having observed the director at work many times and even collaborated with him on some of his productions. From this experience, he can draw on the delailed knowledge and understanding of working methods that are essential, and he does so without falling into the trap of eulogising his subject. He traces Wajda's development, both in his choice of themes and in his formal experiments, and sets his theatre work in the context of his film directing. His evocations of rehearsals and performances are vivid and the book is lavishly illustrated . Its only fault is that it is too short. This is perhaps because it was originally published (in Polish) in J980 and so concentrates on Wajda's work over only two decades, the sixties and seventies. His more recent work is not ignored. but is treated less thoroughly and, most sadly, leaves out Wajda's astonishing third Hamlet entirely. But in every other respect this is an exemplary study which opens our eyes yet again to the extraordinary depth and strength of theatre in Poland since the Second World War. Particularly valuable 'is the introduction, giving a brief but pithy overview of the theatre, and clarifying the role of all the major directors and perfonners during this extraordinary period in Poland's history. DAVID BRADBY, ROYAL HOLLOWAY AND BEDFORD NEW COLLEGE, UNIVERSITY OF LONDON ELIZABETH MACLENNAN. The Moon Belongs to Evelyolle: Making Theatre with 7:84. London: Methuen 1990. Pp. 214. illustrated. £9.99 (PB). JOHN MCGRATH. The Bone WOII', Break: 011 Theatre and /-lope ill Hard Times. London: Methuen 1990. Pp. 166. £7.99 (PB). "Has anybody ever said anything to you in a theatre that really made a difference to your life and attitudes? ... Do you see yourself as part of the experience happening on the stage or outside it? ... Should the audience leave their politics in the cloakroom ? If so, why? ... Is there such a thing as a socialist actor?" (pp. 1-2). Book Reviews These are some of the 37 questions with which Elizabeth MacLennan begins her book. Both texts seek answers, recalling the reasons for forming the 7:84 companies and the heart of the experience of 7:84 through the 70S and 80S. These companies in England and Scotland presented committed political theatre for nearly two decades. Yet they are poorly documented: a section on the early years in Catherine hzin's Stages 0/ the Revolution ( 1980); a chapter in Eugene van Erven's Radical People's Theatre (1988); most of the scripts were not published. (7:84 took its name from the startling statistic that 7% of the population of Britain owned 84% of the wealth.) 7:84 was a kind of collective, but it was also one man, John McGrath, Artistic Director of both companies, author and director of many of the shows. MacLennan's book - with her daughter's drawings, excerpts from her sons' diaries. her own diary for 1988 alternating with a chronological account - seems artless and idiosyncratic. In fact, MacLennan presents herself as woman, actor, wife, mother, political activist, to the reader...

A Theatre of the Everyday: the Plays of Michel Vinaver

It has only been in the last few years that the plays of Michel Vinaver have begun to be discovered and produced in Britain. Yet he has been working as a playwright in his native France since 1955, and has become increasingly respected and widely produced there since overcoming a seven-year ‘writer's block’ in 1967. Here, David Bradby's introduction to Vinaver's dramaturgy is followed by a detailed analysis of one of his most recent plays, L'Emission de télévision, and this critical material is complemented by a chronology of Vinaver's career, excerpted statements by and about the writer – including an ‘auto-interview’ of Vinaver by Vinaver – and a bibliography. David Bradby is Professor of Drama and Head of the Department of Drama and Theatre Studies at Royal Holloway and Bedford New College, University of London: he has published widely, especially on the French theatre, and his major study, Modern French Drama, 1940–1990, has recently appeared in a revised edition from Cambridge University Press. He is currently working on a study of Vinaver for the University of Michigan Press. Michel Vinaver's own assessment of the present state of French theatre funding was included in NTQ25 (1991).

Political Theatre in Present-Day Chile: a Duality of Approaches

In NTQ15 (1988) Catherine Boyle surveyed the paradoxically rich variety of theatrical practices that have come to life in Chile under conditions of extreme hardship since the military takeover of 1973. She concluded that ‘there is more to be said about Chilean theatre and other interpretations to be made’. The following piece puts forward one such interpretation, by examining some of those practices in terms of the larger social and political questions at stake, and by drawing theatrical and historical parallels between the work of the two most important dramatists of the period – Juan Radrigán and Marco Antonio de la Parra – and the work and thought of Piscator. This article was written well before the developments that have brought Chile to the brink of a re-establishment of some kind of democracy, with the elections of December 1989 won by the opposition to Pinochet: but it still reaches an optimistic conclusion, which we can only hope is borne out by events. Enzo Cozzi is a Chilean who came to exile in Britain in the aftermath of the military coup. He now teaches in the Department of Drama at Royal Holloway and Bedford New College. University of London, and runs a puppet theatre company. Travesura, devoted to Latin American popular culture.

Full Custom VLSI Design for Computer Scientists

This paper describes the computer science orientated course on VLSI design at Royal Holloway and Bedford New College, the primary aims of which are to enable students with very limited electronics knowledge to design and fabricate full custom VLSI devices, and to introduce them to the use of high level design tools.

Gogol's ‘The Government Inspector’ at the National Theatre, 1985

Although numbered among the earliest of masterpieces from the modern repertoire, Gogol'sThe Government Inspectorhas its roots deep in earlier Russian society, and much of its apparent humour is based on close observation of the gradations and prejudices of provincial Russian society in the early nineteenth century. In a detailed exploration of the revival in the National Theatre's Olivier auditorium, Mark Hawkins-Dady relates the play to its origins, suggesting that the director Richard Eyre stuck closely to the metaphorical truth, at least, of the social ambience selected by Gogol – and that the apparently eccentric casting of ‘alternative comedian’ Rik Mayall in the central role closely reflected Gogol's own feelings about the nature and playing of the character. Mark Hawkins-Dady is a graduate student in the Drama Department of Royal Holloway College. University of London, currently preparing a doctoral dissertation on directing practices at the National Theatre.

A vertical positron beam for low-temperature surface studies

A cryostat system incorporating a low-energy positron beam for surface measurements down to Temperatures below 2 K is currently under construction at the Royal Holloway and Bedford New College. The positron beam has recently been brought into operation and its operating characteristics have been evaluated. Positrons from a22Na source are converted with an efficiency of e=2×10−4 and transported magnetically at 1.5 V above the work function to a target at the bottom of a cryostat. The transmission of a 7 mm diameter beam is found to be constant over a range of axial field strengths from 40 to 50 G.