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Past Festival highlights

Arts & Humanities Week 2010: Violence & Memory


King’s Arts & Humanities week took between 25 and 30 October 2010 and invited the public to think about the way violence and memory affect our lives.
Violence is central to our culture, but remembering violence has always been difficult. Violence has been the catalyst for extraordinary acts of creativity, from Shakespeare's tragedies to the First World War and beyond. The stories people tell about violence and conflict have been essential to personal identity and modern politics in many parts of the world. In places torn apart by war like Northern Ireland and the Middle East, the often suppressed memory of violence determines the shape of relationships, both public and private. But half-remembered histories of war play a more subtle role in less obvious places, in the significance that memories of national service has had on British political life, for example.
As one of Britain's pre-eminent centres of research in the Arts and Humanities, King's College London opened its doors for a week of debate and exploration about violence and its reverberation in a range of cultural forms, from fiction and theatre to art.

The week included a series of lectures by King's academics, exhibitions, round-table discussion and workshops.



Opening panel: Violence & Memory

17.00-18.30, Monday 25 October 2010
Council Room, King’s Building, Strand Campus

The week begins with a discussion of violence and memory from a variety of angles. Discussion will focus on the place of both in contemporary public life.
Is our society too fixated by violence? Does the passage of time heal the mental wounds of strife, or does memory exacerbate conflict? How can, and should one make private experience of violence public through writing?

These and other questions will provide the themes for a wide-ranging roundtable discussion between academics and cultural practitioners.

Panel convenor Jon E Wilson researches the history of South Asia, in particular Bengal, and governance, political economy and political thought in a variety of global contexts. His first book, The Domination of Strangers. Modern governance in colonial India, 1780-1835 offered a new interpretation of the emergence of the bureaucratic state.

His research currently focuses on two issues firstly, the way people have used stories about the violent events of South Asia’s past in subsequent political argument; secondly, the relationship between state practices and the commodification of human relationships in the subcontinent and beyond. He is currently working on a history of the Battle of Plassey (often described as the moment when India was conquered by the British) and its more recent resonances, and is developing a project on land rights in contemporary India. He has also written widely on the history and contemporary politics of Bangladesh.

Panel: Shell-shock, the Somme & Ford Madox Ford

19.00-20.30, Monday 25 October 2010
Great Hall, King’s Building, Strand Campus

The First World War transformed our understanding of the relation between violence and memory. Mass experience of what was then called ‘shell-shock’ led to a wider acceptance of the concept of trauma, with its associated vocabulary of repression and return. The war became formative in the cultural memory of European societies too; its legacy inextricable from the question of how such violence should be commemorated. Both topics of trauma and memorialization have been reappraised subsequently, especially following the atrocities of the Second World War and the Holocaust. The Battle of the Somme in particular has acquired the status of being the war’s iconic phase. Different forms of cultural representation of war have been reappraised as well. In literature, whereas war poetry and memoirs tended to be taken as the defining works, more attention has recently been given to fiction.

Ford Madox Ford’s sequence of four novels about the war, Parade’s End, has been increasingly recognised as one of the most compelling examples. It is soon to be filmed for TV with a screenplay by Sir Tom Stoppard; and the first critical edition is being launched this year. Ford’s central character, Christopher Tietjens, is a man with an encyclopaedic mind, who suffers from amnesia because of his shellshock. His experience and his bid for reconstruction embodies Europe’s attempt to understand what violence does to memory, and what memory does to violence

Exhibition: me maskuline

Monday 25 – Friday 29 October 2010
Monday 18:30-21.00, Tuesday, Wednesday & Thursday 17.00-20.00, Friday 13.00-17.00

Art Exhibition Room (formerly the Senior Common Room), King’s Building, Strand Campus

This event is free and open to the public at the indicated times. Instigated by exhibiting artist Alex Brew, ‘me maskuline’ includes works spanning 30 years by Oreet Ashery, Rosie Gunn, Alexis Hunter, Derek Jackson, Del LaGrace Volcano, Tracy Allen, Katy Norton and Grace Lau.
‘me maskuline’ wants to see masculinity self-conscious, with perhaps a hint of a blush about its cheeks.
This exhibition is curated by Alex Brew. The exhibition and the opening night panel are organised and hosted by the Centre for Culture, Media & Creative Industries, in conjunction with
Queer@King’s and with support from the ESRC.
The artists come together around their focus on their own relationship to masculinity. They give masculinity meaning only to strip it bare again. Clock the sheer cheek of the work. Banned, torn off walls and labelled a '‘violence towards men' it rears its head and stares back again. Clock the risk-taking and the breaks with gender conventions of 'Chain Reaction' 'scaling buildings to get to the top of the world to perform [their] radical perversions for the camera.' Clock the woman approaching men in public places and asking them to remove items of clothes in a more private space. Clock the young woman in baggy clothes asking a buff man to wrap himself in cling-film for the series 'Bound'. Clock the woman passing as male to dance at a huge men-only religious festival in Israel.
As we hold the mythological male’s gaze - seemingly all powerful, superior, a show of musculature and authority - will the work act as a catalyst for violence or for change?

Lecture: Spasms: Moving Bodies from Baudelaire to Beckett

An inaugural lecture by Patrick ffrench

19.00-20.00, Monday 25 October 2010
Edmond J Safra Lecture Theatre, King’s Building, Strand Campus

Cinema conjures its magically moving bodies at the cost of a mechanical decomposition of the body into what looks like a series of instantaneous spasms. It gives birth to a species of automata.

In this lecture I will explore the implications of this extraordinary violence across various 20th-century literary, cinematic and analytic symptoms.

Exhibition: (in)Remembrance [11-M]

Monday 25 - Friday 29 October 2010 
Monday 18.30-21.00; Tuesday-Thursday 18.00-21.00; Friday 16.00-18.00.
Council Room, King’s Building, Strand Campus
(in)Remembrance [11-M] is a new arts project by Michael Takeo Magruderthat reflects upon notions of collective loss, memory and commemoration in an age of media saturation, global networks and institutional control.
On the 11 March 2004 (11-M) terrorists bombed Madrid’s commuter train system killing 191 civilians and injuring over 1,800 individuals. The work is an aesthetic exploration of the attacks and considers the ways in which news information and reportage have informed our interpretation and understanding of this tragic period of history.

The artworks on display at Arts & Humanities Week are selected from a larger body of work commissioned by and currently exhibited at Manifesta 8: The European Biennial of Contemporary Art in Murcia, Spain.


Exhibition & demonstration: Strandlines Digital Community

14.00-16.00, Tuesday 26 October 2010
Anatomy Theatre Museum, King’s Building, Strand Campus
Drop into the Anatomy Museum on the 6th floor of the King's Building to see an exhibition of images from King's College Archives and Westminster Archives that show the Strand during the First and Second World Wars.
In keeping with the theme of Arts and Humanities week, the Strandlines team (from the Centre for Life Writing Research, Department of Geography and Centre for e-Research at King's) will be displaying images from King's College Archives and Westminster Archives that show the Strand in the First and Second World Wars - these include images of bomb damage, firewatchers, and sandbagging.
Please stop by anytime if you would like to see the show; also if you would like to be introduced to the Strandlines website. If you have a reflection about the Strand, a story about an event that took place in the locality, an anecdote or otherwise, we would be very glad to hear it. We hope to give very brief interviews during the drop-in sessions, recording how workers, students, lecturers and visitors relate to the area. If you would like to hear more about the Digital Community, this would be an excellent opportunity to get involved!

About Strandlines Digital Community

Strandlines Digital Community website offers a creative space for sharing experiences of visiting, living and working on the Strand - the busy road on which King's Strand Campus is located. It is a place where you can learn about past and present Strand dwellers, including the elderly and the homeless; write about your memories and perceptions of the area; exchange photographs, drawings, films and audio recordings.

Lecture: 'This cormorant war': greed, conflict & representation from Shakespeare to Harrison

17.30-18.30, Tuesday 26 October 2010
Great Hall, King’s Building, Strand Campus

An inaugural lecture by Gordon McMullan

When Jean Baudrillard, seeking a media image to exemplify his controversial claim that the Gulf War ‘did not happen’, he chose an oiled cormorant, dead on a beach, an image of victimhood that is the flipside of the more usual representation of this odd, ancient bird as greedy, insatiable, a hoarder, a provoker of conflict.
Gordon McMullan traces the curious representation of the cormorant from Troy to Gallipoli, from Latin American guano wars to the Gulf, by way of Shakespeare, Milton, Hughes, Clampitt and Harrison.

Discussion: Reflections of the Lebanese Civil War: memory, violence & reconciliation

18.00-19.30, Tuesday 26 October 2010
Anatomy Theatre Museum, King’s Building, Strand Campus

This event is hosted by the Centre for the Study of Divided Societies and the Middle East & Mediterranean Studies Programme.
 Bringing together for the first time three experts on ‘Memory and Conflict in Lebanon’, to speak about their new books, we invite you to participate in a discussion on the Lebanese Civil War.
In their new books, Dr Franck Salameh, Language, Memory, and Identity in the Middle East: The Case for Lebanon; Dr Sune Haugbolle, War and Memory in Lebanon; Dr Craig Larkin Memory And Conflict In Lebanon: Remembering And Forgetting The Past, these authors explore the themes of civil warm memory, nationalism and identity, and truth and reconciliation in post-civil war Lebanon.
The panel will be chaired by the Director of the Centre for the Study of Divided Societies, Dr Michael Kerr, and his guests will examine the identity forming narratives at the heart of Lebanon’s conflicts and how the post-civil war generation remembers the past, before opening up for an hour of audience participation through questions and answers.

Lecture: Genocide & Collective Responsibility: an essay on Bernhard Schlink, novelist & legal professor

19.00-20.30, Tuesday 26 October 2010
Edmond J Safra Lecture Theatre, King’s Building, Strand Campus

A lecture by Raimond Gaita

Bernhard Schlink, author of the internationally acclaimed novel The Reader(adapted to a film that starred Kate Winslet and Ralph Fiennes) is also a professor of legal philosophy. In 2009 he published Guilt about the Past a work of legal philosophy, though one in which the novelist is recognizably present.
In Guilt about the Past, Schlink writes analytically about what had preoccupied him as a novelist when he wrote The Reader – the collective responsibility of “the second generation” of Germans who, in the 1960 and 70's, became fully aware of the political crimes and evils perpetrated by the generations of their parents and grandparents. According to Schlink ‘the second generation’ defined itself by what it took to be its distinctive problem: how to respond clear-sightedly, politically and morally, to the discovery that someone one loves or admires is guilty of the crimes of the Holocaust or was, in one of many possible ways, complicit in them. Michael, the protagonist of The Reader, discovers that Hanna, a woman he had fallen in love with when he was a youth, had been a guard at Auschwitz and on the death march after the Germans had abandoned the camp ahead of the Russian advance.
The defining crime of what we call the Holocaust or the Shoah is not mass murder: it is genocide, often described as the gravest of the crimes against humanity. Though Raphael Lemnkin coined the word 'genocide' in 1943, the Holocaust has become our paradigm for understanding it. Yet, though The Reader is often called a post-Holocaust novel, neither in The Reader nor in Guilt nor in Guilt Past does Schlink ask whether the concept of genocide is fundamental to Hanna’s attempt to understand what she did, and to Michael's understanding of his “entanglement” with her guilt.
Does that matter? That is one of the questions I will explore in my lecture. Another is: what should be the roles of philosophy and literature in the elaboration and attempts to answer that question? I will, in effect, be exploring the role the humanities should play in our efforts to understand the moral implications of some of the most important concepts in the jurisprudence of international law.

In conversation: on 'The Nature of Criticism'

19.15-20.45, Tuesday 26 October 2010
Great Hall, King’s Building, Strand Campus

John Crace & John Sutherland: The Two Johnnies

The Guardian’s master satirist and the Emeritus Lord Northcliffe Professor of English indulge in a little light flyting, roasting and joshing at the expense of literary pretension and solemnity: a mix of provocative ideas, humour and readings. Has academia destroyed literary criticism? Is all criticism an act of violence? Is reading and digesting fiction akin to grievous bodily harm? As the Two Johnnies say, “ this talk may be taken down and used in evidence against them!”
Hosted by the Centre for Culture, Media & Creative Industries.


Exhibition & demonstration: Strandlines Digital Community

Drop into the Anatomy Museum on the 6th floor of the King's Building to see an exhibition of images from King's College Archives and Westminster Archives that show the Strand during the First and Second World Wars.

In keeping with the theme of Arts and Humanities week, the Strandlines team (from the Centre for Life Writing Research, Department of Geography and Centre for e-Research at King's) will be displaying images from King's College Archives and Westminster Archives that show the Strand in the First and Second World Wars - these include images of bomb damage, firewatchers, and sandbagging.

Please stop by anytime if you would like to see the show; also if you would like to be introduced to the Strandlines website. If you have a reflection about the Strand, a story about an event that took place in the locality, an anecdote or otherwise, we would be very glad to hear it. We hope to give very brief interviews during the drop-in sessions, recording how workers, students, lecturers and visitors relate to the area. If you would like to hear more about the Digital Community, this would be an excellent opportunity to get involved!

Lecture: Gap years: National Service, 1945-1962

A lecture by Richard Vinen
18.00-19.00, Wednesday 27 October 2010

Great Hall, King’s Building, Strand Campus

Richard Vinen tells us: My lecture will describe the only period in British history that has seen compulsory military service in peacetime. It will argue that the study of this subject tells us something about a neglected generation (made up of men who were too young to fight in the Second World War and too old to swing in the 60s).

It also tells us about class and social mobility – especially because the army’s conception of rank and status was returning to a more rigid model after the comparatively open promotions of the war at a time when civilian society was becoming more fluid – about masculinity and about the way in which the British remember, or forget, their wars of decolonization.

Panel: The Great War & the Visual Arts: a 'show-&-tell'

18.30-20.00, Wednesday 27 October 2010

Anatomy Theatre Museum, King’s Building, Strand Campus

The aim of this event is to foster conversation between academics, artists and audience members about the visual ways in which the Great War has been imagined and remembered.

It will bring together well-known memorial images, for instance, official photographs of the Unknown Warrior’s coffin, with private and more localized commemorations. Pithy war cartoons will be placed alongside the still photographs and postcards comprising the Braintree ‘Roll of Honour’ film. The event will also showcase artists’ projects: the restoration of a 1917 First World War Shine; a wreath composed of women’s white gloves.

Lecture: Something Unearthed: Memory, Music, & Self

19.00-20.00, Wednesday 27 October 2010

Edmond J Safra Lecture Theatre, King’s Building, Strand Campus

Trezza Azzopardi, The Times Cheltenham Literature Festival Writer in Residence

"My obsession has always been with memories; how they are formed, how they seem to be solidly fixed to a time and place, but are modified by experience, evidential proof, and the testimony of others.
In my fiction, I use my characters to explore the boundaries of their own memories: they discover false truths, misunderstandings, revelations in new evidence. Often, it leads them to a different perspective on the lives they have lived and are still to live. For my characters, remembering is a form of archaeology – fragmented, painstaking, dirty work.

In The Song House, I use the motif of remembering in two distinct but related ways: for Kenneth Earl, it is a tool with which to stave off his failing memory – something which he believes can be organised, regimented, confined to a series of notes. For Maggie, it is an organic and fluid process; a means of discovering a buried truth. But as with all truth, there is another version.

In this lecture, I will be discussing the ways in which I use character, music and place to explore the act of remembering and the way it can affect both our present and future lives."

Discussion: The Brighton bomb: war, peace, & reconciliation

19.30-21.00, Wednesday 27 October 2010

Great Hall, King’s Building, Strand Campus

What is the difference between a terrorist and a freedom fighter? How should we characterize the 25-year ‘armed struggle’ of the Provisional IRA? What role can former combatants play in the Northern Irish peace process? On 12 October 1984 the IRA bombed the Grand Hotel in Brighton during the Conservative Party Conference. The target was Margaret Thatcher, who three years previously had refused to grant ‘political status’ to IRA prisoners during the Hunger Strike that led to the deaths of Bobby Sands and nine other Republican prisoners.

Although Thatcher was unhurt, the bomb killed five people and injured many others. Patrick Magee received eight life sentences for the bombing in 1985. He was released in 1999, under the terms of the Good Friday Agreement, having meanwhile been awarded a PhD. Since his release he has spoken regularly on the themes of peace and reconciliation in Ireland, and has worked closely with Jo Berry, daughter of MP Sir Anthony Berry, who was killed in the explosion.


Panel: Art & the Academy

14.00-15.30, Thursday 28 October 2010

Anatomy Theatre Museum, King’s Building, Strand Campus

A round table discussion with Ludmilla Jordanova, Frances Carey, Sandy Nairne & Peter Jenkinson

This round table discussion addresses some big questions around the role of higher education institutions in public life, focusing especially on the visual arts.
Most Universities own works of art, some possess very considerable collections, depending, of course, on how we define ‘art’. We advocate a broad definition, and are interested in including materials in archives. How should such works be used and displayed in higher education institutions? Should exhibitions primarily serve to generate memories of the institution in question, that is, to connect with current notions of public history and cultural heritage?
In all sectors, successive governments have privileged engagement with the public, and public art is now a major issue, witness, for instance, debates about the fourth plinth in Trafalgar Square, a major ‘site of memory’. There is now a lot of experience in the museums world that is relevant here, so should Universities be collaborating with galleries and museums in new ways? How can we learn from curatorial colleagues and what responsibilities does King’s in particular have to engage the public with its collections and its own past? Whose memories might be involved? What, after all, is the public? The session will include the presentation of proposals for the activities that King’s might promote in this area.

Lecture: 'From the deep black ditch of forgetfulness'

Redeeming the First World War in Ireland & Australia

18.00-19.30, Thursday 28 October 2010
Edmond J Safra Lecture Theatre, King’s Building, Strand Campus

The Reese Lecture from the Menzies Centre for Australian Studies, to be given by Stuart Ward, University of Copenhagen

This lecture explores the underlying contextual factors that have informed these intersecting lines of commemorative culture in both countries. It will consider the remarkably similar experiences of Irish and Australian soldiers at Gallipoli in 1915, and the equally similar depictions of their achievements in political rhetoric and popular lore at the time. It will account for the profound divergence in Irish and Australian public memory of Gallipoli from the 1920s, before turning to the processes of recovery and redemption of more recent decades. To what extent are Irish and Australian wartime memories subject to a shared pattern of deeper influences and agencies? And to what extent can recent tendencies in Ireland be understood in a new light by viewing them in an Australian comparative context?

Lecture & Performance

‘But my love still clings to the rocks, the sea & the mountains’: Translating & Performing Voices of Memory
19.00-21.00, Thursday 28 October 2010
Anatomy Theatre Museum, King’s Building, Strand Campus

An inaugural lecture by Catherine Boyle

This event is free - but please let us know on if you'd like to attend.

Is it possible to translate and perform the memories of people, or experiences that you have not lived? My work has long addressed these questions, tracing processes of cultural transmission across language, experience and performance. The focus of the lecture will be on recent work that explores the translation of experiences of cultural extremity, and will focus primarily on work that interrogates what it is to live and remember violence, concentrating on recent Chilean theatre and poetry.

The lecture is followed by a dramatised reading of a one-act play, Counterpoint for Two Tired Voices, by Chilean playwright, Jorge Díaz, which explores the loss of love and memory and the persistence of the imagination in trying to recuperate them.

In conversation: Alain Badiou...

... talks about 'The Communist Hypothesis'
18.30-19.30, Thursday 28 October 2010
Arthur & Paula Lucas Lecture Theatre (S-2.18), Strand Building, Strand Campus

Alain Badiou, Professor of Philosophy at the International Graduate School, is one of the most celebrated philosophers in the world. Among a vast output, his philosophical reputation rests especially on the two-volume work Being and the Event (1988) and Logics of Worlds (2006). 

The New Statesman has described him as ‘an heir to Jean-Paul Sartre and Louis Althusser’, seeking to continue both Althusser’s anti-humanism and Sartre’s preoccupation with subjectivity.

A veteran of May 1968 and a Maoist militant during the 1960s and 1970s, Badiou has emerged as one of France’s leading public intellectuals in recent years. His opposition to banning the burqa was followed by The Meaning of Sarkozy (2007). This polemic first advanced what he called the ‘Communist Hypothesis’, which reasserts the idea of an alternative to capitalism based on the universal principle of equality. These ideas are further developed in The Communist Hypothesis, recently published by Verso.


Discussion: Brutal Adolescence

Two novels from King’s Alumni James Miller & Ross Raisin
12.00-13.00, Friday 29 October 2010
Council Room, King’s Building, Strand Campus

Both Ross Raisin and James Miller explore the violence inherent in everyday life, exposing the brutality of adolescence.
In his award-winning God’s Own Country (2008), Raisin takes on the voice of a Yorkshire youth who loses sight of the boundary between fantasy and reality, following his character’s descent into psychopathic violence. In Lost Boys (2008), Miller brings together terrorism in Iraq with the mundane but insidious cruelty of the English public school, suggesting there is a connection between individual and national violence.
Here Raisin and Miller will discuss the inspiration for their novels and consider the literary traditions behind their work. The discussion will open outward to consider the language of violence and to interrogate the relationship between psychological and political conflict.

Arts & Humanities Postgraduate Fair

13.00-16.00 Friday 29 October 2010
Great Hall, King's Building, Strand Campus

Academics and students from every discipline in the School of Arts & Humanities have been invited to display and talk about their work during the Graduate Fair.  If you are looking into studying at a graduate level at King's and you want to find out more about taught and research programmes, student life and funding opportunities, please join us in this exciting day of exchange and discovery. From Byzantine pottery to the digital culture of Shanghai, you will find out how your ideas can connect with the vibrant teaching and research culture at King's, and the support that we can offer if you become one of our students.
The event is open to all, to allow visitors, current students, faculty and friends of the College to explore the depth and breadth of arts and humanities scholarship at King's.

Lecture: History, heritage & hazy memories

Why is the timeless singing style of cathedral choirs always changing?

18.00-19.30, Friday 29 October 2010
The Chapel, King’s Building, Strand Campus

A lecture by Timothy Day

The precise ways in which we sing and play musical instruments reflect in the closest details who we are, and why, and how we give meanings to our lives. Why this kind of attack, why this tone colour, why this particular kind of crescendo? This is true for every kind of music. ‘Music is your own experience, your thoughts, your wisdom’, as Charlie Parker put it. ‘If you don’t live it’, he said, ‘it won’t come out of your saxophone.'
In the middle of the nineteenth century the men who sang in cathedral and college choirs also cleaned the shoes of their masters, mended chairs, worked as cooks. Music was hardly work for gentlemen. As ideas about music in England changed it was necessary for singers with different backgrounds and education to emphasize their manliness – music wasn’t only for girls – and to sing in the choir with the same kind of teamsmanship as they played games, and to blend very carefully, for they weren’t little show-offs. So although cathedral choirs like the ones we know have been singing in these ancient buildings for hundreds of years the style of singing has changed drastically. What conclusions can we draw from this strange eventful history?

Lecture: Digitizing Imperial Rome
A Computerized Approach to the Architectural History of the Roman Imperial Forum

18.00, Friday 29 October 2010
Anatomy Theatre Lecture Hall, King’s Building, Strand Campus

The event is sponsored by the King's Visualisation Lab (KVL) and by the Mellon Foundation, who are also sponsoring a two day symposium, hosted by KVL, on the use of "Virtual Worlds" technologies for the advancement of humanities research.

A special lecture by Professor James Packer (Emeritus, Northwestern University)

Professor Packer tells us: Although each year millions of people visit the Roman Forum - the centre of Rome’s former remarkable empire - they find only one or two partially preserved structures and piles of architectural fragments. Most of the ancient buildings, apart from the few converted into churches, collapsed after centuries of neglect, leaving their remains to be quarried by later generations. The details of the individual buildings are still not widely understood, and the Forum has never been studied as a unified architectural composition. Moreover, owing to new archaeological studies and advances in computer technology in the last fifteen years, it is now possible both to reconstruct the Forum’s monuments accurately and, with these new reconstructions, to comprehend the design and meaning of the whole site. These considerations led my colleague, Professor and Architect Gilbert Gorski, and me to undertake our new, digitally based study of the Forum.
Our work clarifies the design of the buildings around the Forum’s central core. It collects, for the first time in English, the most important material related each of the major monuments and shows visually their structure, size and original appearance. Over a period of nearly forty years (29 BC - AD 10), Augustus rebuilt the site, and thereafter, in material, size structure and decoration, its buildings related clearly to one another. Together they impressively represented the power and prestige both of Augustus own regime and that of the Mediterranean Empire it governed.
With some missteps (the short-lived colossal equestrian state of Domitian, the unfortunately situated, enormous, gaudy Arch of Severus), later emperors carefully maintained Augustus’ design and structures, even as they rebuilt many of the monuments after disastrous fires. The late third century A.D. additions of Diocletian maintained this tradition but added a fashionable, new architectural framework that expressed that emperor’s optimistic hopes for the future of his recently reassembled Empire. Only the end of Rome as an imperial capital doomed the site to neglect, ruin, transformation and, from the 18th century on, to the investigations of modern excavators.


Arts & Humanities Walk: London's India

The East India Company & the City of London
Saturday 30 October, 11.00-12.30

The City of London was the centre of Britain’s empire. The square mile is saturated with traces of the often violent connection between Britain and India. Participants will be guided by historian of India Dr Jon Wilson through the history of the City’s relationship to the Indian subcontinent. 

Olivier's Shakespeare: Violence & memory

A day conference at the London Shakespeare Centre, King’s College London
9.00-17.00, Saturday 30 October 2010
Anatomy Theatre Museum, King’s Building, Strand Campus

view from the South BankRecently, the British Film Institute created new prints of Olivier’s Shakespeare films and there has been a quiet revival of interest amongst film enthusiasts, yet there has been relatively little Olivier-related work by Shakespeare-on-film scholars in recent years. We aim to kick-start the revival - with the support of the National Theatre (especially their archivist, Gavin Clarke) - by way of a conference addressing Olivier’s role in the development of Shakespeare in performance, both on stage and on screen, in the twentieth century and will do so in the context of the 2010 Arts & Humanities week focus on war, memory and representation. This conference will be the culmination of the London Shakespeare Centre Launch Season – a month of activities to engage our alumni network and publicly launch the London Shakespeare Centre.
After the conference, participants, members of the College and the general public are invited to a free evening event at the National Theatre Studio (83-101 The Cut, Waterloo, opposite the Old Vic), 18.30-20.30, which will bring together actors who worked with Laurence Olivier in the early days of the National Theatre to consider his influence as a performer and director. Participants include Terry Coleman, Barry Norman, Bill Gaskill, Daniel Rosenthal and Colin Bell. A fascinating and entertaining evening is in store.

Inside Out Festival events

Inside Out is a major festival curated by LCACE (the London Centre for Arts and Cultural Exchange) to showcase the fascinating contribution of nine London Universities to the capital's cultural life.

LCACE is a consortium of nine universities. It was established in 2004 to foster collaboration and to promote and support the exchange of knowledge between the consortium’s partners and London’s arts and cultural sectors


Songs of Affliction & Hospital Ragas - Concert
19.30 Tuesday 26 October 2010
The Chapel, King’s College London, Strand Campus

Songs of Affliction: Composed for – and performed by – anybody who lives or works with affliction, this song cycle explores the human condition and the nature of suffering.

The Art of War - Entertainment, Englightenment or Voyeurism?
19.00, Wednesday 27 October 2010
The Chapel, King's College London, Strand Campus

A panel discussion chaired by Philippe Sands QC on war as entertainment led by Iain Burnside, Guildhall School academic, pianist and Sony-Award-winning radio presenter, drawing on his current theatre piece Lads in Their Hundreds.

Critical Reflections: the Universal Declarations of Human Rights + Anniversary: Act of Memory 30
18.30-20.30, Thursday 28 October 2010
The Chapel, King's College London, Strand Campu

Isolation screening & panel discussion
18.30 Friday 29 October 2010
Birkbeck Cinema: 43 Gordon Square, Birkbeck, University of London, London WC1H 0PD


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