• Daily Mirror exclusive interview with ex-Liverpool and Arsenal footballer, Michael Thomas

      Hassall, Paul; University of Chester (Daily Mirror newspaper, 2014-02-07)
      An article recalling Michael Thomas's infamous goal for Arsenal at Liverpool on the 25th anniversary of his famous last-gasp title-winning strike.
    • Dance bands in Chester (1930 - 1970) : An evolving professional network

      Southall, Helen; University of Chester (2011-09)
      Headings are: the city of Chester; a hidden history; jazz places; economic places; social networks; methodology and findings.
    • Dance bands in Chester: An evolving professional network

      Southall, Helen (University of Liverpool, 2015)
      This thesis addresses the live music scene in Chester in the mid-20th Century, and in particular jazz-based styles of dance music, played for the most part by local musicians. The basis of the study is a set of interviews with musicians, promoters and fans who were all active in the Chester area during the period between 1925 and 2008, in settings ranging from military bands and youth clubs to resident dance hall bands, touring concert parties, summer season shows and radio broadcasts. Thirty interviews were undertaken, and along with many hours of taped conversation, these yielded over 200 photographs and other pieces of evidence In this thesis I have synthesised existing theoretical approaches from a number of fields to account for the large number of part-time dance-band musicians who were active in the Chester area, especially during World War II and in the decade that followed. Ideas from popular music studies and jazz studies were part of this framework, but were not sufficient, as both fields have historically had a tendency to concentrate on musicians and places considered to be highly significant or exceptionally influential, rather than routine and local. I have therefore turned to other disciplines in search of appropriate analytical approaches, and used ideas from geography, economics and sociology as alternative lenses through which to view the problem. In the process, I have shown that this dance band scene grew from the people and entertainment infrastructure of the previous, inter-war, period. In turn, the musicians, promoters and venues of the dance band scene, combined with changes in technology and society which fundamentally changed the economics of live entertainment, formed essential parts of the environment in which much better-known rock and pop musicians of the 1960s and 70s emerged and developed.
    • Dancefloor-Driven Literature: Subcultural big bangs and a new center for the aesthetic universe

      Morrison, Simon A.; University of Chester (Cambridge University Press, 2016-12-13)
      This paper sets coordinates squarely for Holleran’s ‘aesthetic center of the universe’ –venturing toward the black hole of the nightclub dancefloor. Further, it will reach out to those writers determined to capture the electronic essence of this at times alien electronic dance music culture within the rather more earth-bound parameters of the written word. How might such authors write about something so otherworldly as the nightclub scene? How might they write lucidly and fluidly about the rigid, metronomic beat of electronic music? What literary techniques might they deploy to accurately recount in fixed symbols the drifting, hallucinatory effects of a drug experience? In an attempt to address these questions this paper will offer an outerspace overview of this subculture and its fictional literary output.
    • Death returned her to rags - Fzkke Gallery

      Dilworth, Alexe; University of Chester (2016-07-08)
      'Death returned her to rags' is a solo exhibition installed at the Fzkke Gallery, Euskirchen, Germany. It features a substantial body of work investigated through photography, print, sculpture and site-specific interventions. The work explores both the physical and mythological resonances within remote rural landscapes. The date of the show was from 8th July 2016 - 21st of August 2016.
    • Decisions

      Owens, Allan (Chester College, 1996)
      This article discusses decisions - a process drama created to explore the concept of ethical decision making - which ran in October 1996 as part of the Decade of Evangelism mission run by the Chester and Wakefield dioceses. The project focused on the sharing of faith (in particular Christian beliefs relating to forgiveness), taking real risks, and changing attitudes.
    • Dedicated to Music - Introduction

      Duffett, Mark; University of Chester (Routledge, 2015-11-30)
      The Routledge edited volume 'Fan Practices and Identities: Dedicated to Music' explores a series of case studies of music fandom. This introductory chapter places the cases in the context of contemporary perceptions of popular music fandom.
    • Depiction as comedy and truth: women’s dress in Marie Duval’s drawings for ‘Judy’ 1869 – 1885.

      Grennan, Simon; Sabin, Roger; Waite, Julian; University of Chester, Central Saint Martins (Dressing and Undressing the Victorians Conference, University of Chester, 2015-03-01)
      This paper will present and theorise aspects of the facture and iconography of the work of pioneering female cartoonist Marie Duval, in relation to conceptions and representations of women’s dress in London in the 1860s, 1870s and 1880s. Duval’s work appeared in a variety of the cheap British penny papers and comics of the 1860s-1880s. An actress as well as a cartoonist, she lived and worked in an environment of music halls and unlicensed theatres, sensational plays, serials, novels and comic journals. Her drawing style was theatrical, untutored and introduced many techniques that only became common in much later cartooning. She drew hundreds of comic strip pages for the magazine Judy and spin-off compilations, focusing on the humour, attitudes, urbanity and poverty of the types of people she knew. Her characters’ appearance, the ways in which they shape and move themselves in her visual world, and the technically maverick style in which they were drawn, provide a range of subtle and forthright commentaries on the historic dress and behaviour of her working-class London contemporaries, in particularly women of a range of ages, occupations and financial and social situations within this immediate milieu. First, the paper will consider the extent to which the facture of Duval’s drawings articulates relationships between constraint and liberation, in the ways in which she depicts women’s dress, utilising tracing techniques and briccolage, combined with a technically untutored style of drawing. She both cues readers to comedy (emerging as dissonance in her cutting and re-inscribing of contemporaneous fashion illustrations), and depicts embodied social discourse in the form of practices (as contemporaneous truths, in her deft manipulation of misrecognition), themselves generating a system of ideas, and creating a cognitive consensus connecting particular ideas with the behaviour of specific social groups. Second, the paper will consider Duval’s use of body distortion, accumulation, diminution and exaggeration, in which her depictive techniques present women’s dress not as a produced subject but as praxis. It will examine the complex parodic relationships that she creates between readers’ cultural knowledge of action on the contemporaneous theatre stage, in the practices of stage melodrama, and her depictions of women moving through her drawn plots in ‘old fashioned’ bonnets; of their noses; of the significant, ever-changing silhouettes of the carapaces of their chin-to-ankle dresses and of their feet, for example. Parallels will be identified between these Victorian ‘innovations’ and their continued use in twenty-first century ‘current’ and neo-Victorian’visual comedy. Finally, the paper will focus on the plots of Duval’s cartoons, identifying the general anonymity of Duval’s women characters relative to the developing visual identity of a single woman character who appears throughout: Judy herself, the muse and mistress of the magazine. It will present a close reading of a single frontispiece drawing of Judy from 1884, in which Judy rides an ostrich, in order to extrapolate a description of Duval’s cartoons of contemporaneous women that brings together facture, iconography and social milieu in order to understand both the unique processes of her comedy and her ability to depict the truth.
    • Directions in Music Fan Research

      Duffett, Mark; University of Chester (Routledge, 2015-11-30)
      This piece reflects on the relationship between popular music fandom and identity, outlining some undiscovered areas and hard problems in the field of music fan research. It introduces a section on fan identity in the Routledge edited volume, Fan Identities and Practices in Context: Dedicated to Music.
    • 'Dispossession': time, motion and depictive regimes.

      Grennan, Simon; Miers, John; University of Chester, Central Saint Martins (Leuven University Press, 2015-05-01)
      A chapter in the edited collection "Transforming Anthony Trollope: 'Dispossession', Victorianism and 19th-century word and image."
    • Dispossession: A Novel of Few Words

      Grennan, Simon; University of Chester (Jonathan Cape (Vintage), 2015-09-01)
      A scholarly remediation of one of the later novels of Anthony Trollope.
    • Dispossession: Storyboard, Anaphora, Rhythm and Stage in a New Graphic Adaptation of Anthony Trollope’s 1878-79 Novel 'John Caldigate'.

      Grennan, Simon; University of Chester (International Association of Word and Image Studies Conference, Dundee., 2014-03-01)
      IAWIS/AIERTI Conference Dundee 2014 Session Proposal: Dr Simon Grennan, University of Chester (simon.grennan@zen.co.uk) Individual Papers Panel Session Theme: Visual Literacies / Literary Visualities (in the Digital Age) Session Title: ‘Graphic adaptation and historic literary fiction: re/vision, remediation and discovery.’ Although comic strip adaptations of historic literary fiction are commonplace, in the great majority they have been historically motivated either by pedagogy or by hagiography. The pedagogic approach assumes that narrative drawing is more accessible to children than text. The hagiographic approach assumes that the source text is an original to which adaptations must aspire by overcoming the limits imposed by their own media Increasingly, a number of comic strip adaptations of historic fiction have appeared to interrogate the process of adaptation from literary text to narrative drawing itself, turning the adaptation process into a method of enquiry into some of the central issues of both remediation, narrative drawing and historiography: the relationships between specific texts and new images and concepts of authenticity, record and narrative voice relative to history. Such approaches to the adaptation of historic novels make visible the ways in which the process of adaptation itself engenders a fuller understanding of historic texts and their production. Frequently, they visibly manipulate the reading experience through techniques of juxtaposition, anachronism and visual revision, prompting reflections upon the impact of diverse media on the practice of history, for example: Marcel Broodthaers 1969 ‘Un coup de dés jamais n’abolira le hansard’, Dino Battaglia’s adaptations of Maupassant stories and Catherine Anyango’s 2010 ‘Heart of Darkness’. This session will aim to focus in detail upon a) both the technical processes of adaptation, or the ways in which new technologies inform the development of approaches to historic texts, and b) upon the conceptual strategies and rationales of adaptors. As a related topic, it will also hope to discuss current trends in the understanding of the roles of contemporaneous illustration in historic literary fiction. The session’s central questions and consequent call for papers will focus upon i) comic strip adaptation’s rationalisation of visual equivalents for literary narrative voices, ii) upon the influence of moving image conventions on storyboards, points of view, pace and information management and iii) upon conceptions of time revealed in contemporary adaptations of nineteenth century novels in particular. Confirmed individual presenters: Professor Jan Baetens (KU Leuven) Dr Simon Grennan (Chester University) Frederik Van Dam (KU Leuven) Expressions of interest in the call for individual session papers has been made by: Emeritus Professor David Skilton (Cardiff University) Peter Wilkins (Douglas College, Vancouver) Dr Ian Hague (Comics Forum) A further call for individual session papers will be made.
    • ‘Dispossession’: uses of encumbrance and constraint in visualising Trollope’s style, in a new graphic adaptation of his 1878-79 novel ‘John Caldigate'.

      Grennan, Simon; University of Chester (KU Leuven, 2015-09-01)
      This paper will discuss my adaptation of Anthony Trollope’s John Caldigate (1878-79) as a new graphic novel, Dispossession and its French edition Courir deux lièvres. Trollope’s writing style formalises his approach to plot, succinctly tying style to genre. In the plot of John Caldigate, the narrator both consistently avoids making definitive statements about events and character traits and avoids presenting a definitive opinion. Although Trollope eschews visual description, the continual, rhythmic presentation of one opinion after another brings about a distinctive and relatively complex spaciotopia, in which the reader feels positioned relative to the diegesis. In retinoscopic terms, this could be described simply as a spaciotopia produced by continually repeating a limited number of changes in point of view. From an analysis of Trollope’s writing style emerges the question of style in the drawn adaptation, answers to which finalise the governing constraints of its drawing style: how does Dispossession employ and/or depict equivocation in the style of its facture, distinct from the depiction of the plot? More simply, the changes made to Trollope’s plot in the adaptation emerged according to principles extrapolated from the habits of contemporary readers. The paper will explore how important plot elements or absences, significant for Trollope’s readers in the 1870s, required alteration or transformation, in order to maintain or heighten the meaning of the plot for 21st century readers: the elision of characters, changes to names, the legal process of restitution after miscarriages of justice, the significance of a straw hat and, most visibly, the presentation of new aboriginal Australian characters and the use of the Wiradjuri language. Citing both positive and critical media reviews of Courir deux lièvres from earlier this year, the paper will finally suggest that these approaches to word/image adaptation in the context of markets for graphic novels in English and French negotiate existing terrain for understanding Trollope, by bringing new habits of reading to an experience of his work and to ideas of the nineteenth century.
    • Dissolving into Scotland: National Identity in Dunsinane and The Strange Undoing of Prudencia Hart.

      Pattie, David; University of Chester (Taylor and Francis, 2016-03-03)
      Journal article
    • Diving Into the Wild: Ecologies of Performance in Devon and Cornwall

      Sarco-Thomas, Malaika; Falmouth University (Routledge, 2015-03-31)
      This chapter explores different examples of site-based dance performance in Devon and Cornwall, analysing them for the different ways they invite audiences and performers to engage with nature. The essay maps a continuum for engaging with the outdoors via a table that categorises different sited dance activities and performances from 2001-2014, drawing on findings of reports which identify the health benefits of engaging with green spaces. Works are analysed for their ways of encouraging viewing nature, incidental involvement, and purposeful, somatic involvement with the outdoors. The chapter argues that such performance initiatives offer conceptual and social frameworks for outdoor experiences that provide individuals with health-giving benefits whilst simultaneously proposing ways to think differently about our relationships to wild places.
    • DJ-driven Literature: A Linguistic Remix

      Morrison, Simon A.; University of Chester, University of Leeds (Bloomsbury, 2013-12-19)
      Rave culture began very much as a scene for the cognisant in-crowd. Any broader understanding of the role of the DJ within that scene was limited, almost exclusively, by the parameters of the dancefloor, the walls of the warehouse. As the police discovered when they began to move against the nascent rave scene in the 1980s, they were handicapped principally by a complete lack of understanding as to what they were dealing with. It is only now, with the benefits of time, hindsight and an expanding academic and cultural literature that serious attempts can be made to understand what has become known as EDMC. This proposed chapter aims firstly to separate the construct of the DJ from the broader subcultural context of EDMC, and instead examine the DJ as focus for literary exploration. Identifying literary representations of DJs, the chapter will look at the way the society of the dancefloor has been represented in contemporary literature, and how these texts have broadened the understanding of DJ culture for a possibly non-participatory readership. The chapter will ultimately argue that such literature has in fact assisted the enculturation of the DJ by elevating them beyond the physical nightclub and into one built from words, their tropes and modes not merely known by a restricted number of clubbers, but an infinite crowd of readers. The chapter will examine the actual function of the DJ – whether leader of, or servant to, the dancefloor – and will then consider what fictional representations of the DJ archetype may add to the on-going, broader understanding of the practices within DJ cultures. Establishing a theoretical platform from which to build an argument, the chapter will draw on the likes of Calcutt & Shephard and Whissen to examine where club fiction might sit within the broader subgenre of cult fiction, and how the role of the DJ is explored within that realm of club fiction. In order to do this, the work will consider works by Hebdige on subcultures and Muggleton on post-subcultures and will investigate whether a homology exists between the musical and cultural setting and the literature which reports it. The chapter will also look at the environment of the nightclub and consider how Middleton’s “signifying structures” might relate to the interplay of music, fashion, drug consumption and behavioural patterns that each contribute to the context within which the DJ resides. The DJ’s work, after all, is about the “mix”. However where, in fact, does the DJ fit into this interplay of power relations, into this mix? One of Middleton’s homological “structural resonances” is undoubtedly language, in this case the language of the dancefloor. The key aspiration of EDM texts is authenticity and that is dictated, and constructed, by semantics. Here the chapter will introduce the literary notion of verisimilitude: how the life and work of the DJ is translated successfully into the printed word via a naturalistic encapsulation of the syntax of the dancefloor, and what is lost and gained in the process of that translation. A nightclub is a cauldron of colour and energy. The chapter will identify and consider how an author might capture that intangible magic and transcribe it utilising the written word. It might be argued that authenticity is in fact achieved through the homology of language and experience, in constructing a believable fictional environment within which the DJ might play. But is there an inevitable disconnect between the literal and the literary? Chemical Generation writers such as Irvine Welsh, Jeff Noon and Pat W. Henderson sit within a lineage of countercultural writers, who have all had to draw on specific literary techniques in order to authentically capture the spirit and energy of their particular countercultural environment. Whether Jack Kerouac on jazz or Hunter S. Thompson on rock, when in comes to writing about music, these writers have all had to reach for a kind of artistic synethesia. Each of these writers has had to find a voice with which to describe the music, and the techniques of the production of that music. The chapter will also contemplate where club culture writers might lie, in terms of a lineage of countercultural scribes. In terms of methodology, the chapter will then focus on one novel, or perhaps a number of short stories, as a kind of literary springboard into a broader discussion of these more theoretical ideas, holding the text/s up against the theories of the likes of Hebdige, Muggleton, Middleton et al. It will also incorporate primary research with the likes of the DJ Graeme Park, principally known for his residency at the Hacienda in Manchester. In conversation, he explains how the writer Pat W. Henderson asked Park’s permission to feature him in a fictional work, which raises interesting notions of diegetic and non-diegetic involvement of DJs and electronic music texts in literature. This work, Henderson’s third novel entitled Club, is currently an unpublished manuscript but Henderson will allow the author of this chapter access to that primary manuscript to assist this research, and to discuss his inspiration. It will be important to compare genuine representations of DJs such as Graeme Park and John Digweed, with fictional DJ characters, such as Lloyd, in the Irvine Welsh short story, ‘The Undefeated’. Again, notions of verisimilitude come to the fore, in terms of confidently capturing the techniques of the DJ and their music, in order to achieve authenticity. The central argument of the chapter will propose that the appearance of Chemical Generation writers has undoubtedly engendered a broader enculturation of EDMC. In terms of DJ cultures, the production of knowledge is necessarily limited when restricted to participants. Fictional representations of the DJ, therefore, add a cultural dynamic to our understanding of the DJ and the tropes and modes of a DJ’s character, function and behaviour. With the emergence of Chemical Generation authors, you no longer had to physically go to a club to discover what might take place within it walls, and how its soundtrack might be constructed. It might therefore be argued that the archetype of the DJ has passed into mainstream understanding via the process of its cultural representation. Moving forwards, the role of EDM texts will become increasingly important. As the participants of that initial explosion of acid house culture grow older and retire from the dancefloor, what will be left (aside, of course, from the music itself) will be these such texts, which will form a socio-historical archive moving forwards, by which EDMC will be considered.
    • Documentation 77001^74103 Cargo Space

      Grennan, Simon; Sperandio, Christopher; University of Chester, Rice University Houston (Hardesty Art Centre, 2014-03-01)
      A book published to accompany the public touring exhibition "Documentation 77001^74103 Cargo Space" at Hardesty Arts Centre, Tulsa.
    • Double Edged Sword

      Turner, Jeremy; University of Chester (Ilex, an Imprint of Octopus Publishing Group, 2016-11-03)
      Discussion of the relationship and impact of employment in higher education on the maintenance and development of a fine art studio practice.
    • Drama and the global dimension

      Owens, Allan; University of Chester (Trenthan Books, 2008-09-01)
      This book chapter discusses drama activities that a primary school could use to inform pupils of the global dimension of drama.
    • Dramworks: Planning drama, creating practical structures, developing drama pretexts

      Owens, Allan; Barber, Keith; University College Chester ; Victoria Community High School, Crewe (Carel Press, 1996-04-01)
      This book focuses on planning drama, creating practical structures and developing drama pretexts. Methods of reflecting on and evaluating the work are built into the pretexts.