Abstract
As John Berger and others write in Ways of Seeing (London 1972, p. 11):
History always constitutes the relation between a present and its past. Consequently fear of the present leads to mystifications of the past. The past is not for living in; it is a well of conclusions from which we draw in order to act. Cultural mystification of the past entails a double loss. Works of art are made unnecessarily remote. And the past offers us fewer conclusions to complete in action.
it is not the literal past, the ‘facts’ of history, that shape us, but images of the past embodied in language … we must never cease renewing those images; because once we do, we fossilise.
Translations 1
If we had really cared enough would places like this exist?
Savage Amusement 2
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Notes
Brian Friel, Translations (1981) p. 66.
Peter Flannery, Savage Amusement (1978) p. 60.
Brian Friel, The Freedom of the City (1974) p. 51.
Brian Friel, Volunteers (1974) p. 31.
Peter Whelan, Captain Swing (1979) p. 95.
Caryl Churchill, Light Shining in Buckinghamshire (1978) Preface.
Caryl Churchill, Softcops (1984).
Roland Barthes, Mythologies (1972) p. 156.
Stephen Poliakoff, Hitting Town and City Sugar (1978) p. 132.
Stephen Poliakoff, Strawberry Fields (1977) p. 43.
Stephen Poliakoff, Shout Across the River (1979) p. 55.
Stephen Poliakoff, The Summer Party (1980) p. 44.
Nigel Williams, Class Enemy (1978) p. 9.
Nigel Williams, Sugar and Spice & Trial Run (1980) p. 46.
Nigel Williams, Line ‘Em (1980) p. 26.
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© 1986 David Ian Rabey
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Friel, B. et al. (1986). Past Imperfects and Present Indicatives. In: British and Irish Political Drama in the Twentieth Century. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-21106-7_11
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DOI: https://doi.org/10.1007/978-1-349-21106-7_11
Publisher Name: Palgrave Macmillan, London
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