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This lecture examines the fascination surrounding works that are left unfinished at their composers’ deaths. It also looks at the urge that certain of us have to complete these uncompleted works, however unwisely and however unbidden.
We will trace the musical, visual and choreographical consequences of this new trend through several later Diaghilev ballets: Parade (Satie/Picasso), Chout (Prokofiev/Larionov), Le Pas d’Acier (Prokofiev/Yakulov).
On the 200th anniversary of George IV's accession to the throne, this lecture considers whether or not he had any real impact on the fast-industrialising world around him, and the turbulent political times he lived through.
Narrative, the way a tale is told, is less straightforward than we might suppose. Austen handled irony brilliantly and systematically exploited new ways of narrating, including free indirect discourse. This lecture explores why Austen's way of narrating are so compelling.
How do the different versions reflect the politics and culture of their own particular times? What makes a good Carol movie? Is it truth to the original or is it something else?
The 2014 scandal over Rachel Dolezal’s lying about being of African-American heritage reignited debates about the politics of hair. It has been followed by numerous books with titles such as Don’t Touch My Hair!
Diaghilev found that the Oriental style that had been cultivated by Russian composers was a perfect match for the Parisians’ love of exoticism, and he started to commission new ballets for this market niche.