Recent Studies in Christian OriginsThe Witness to the Historicity of Jesus. Arthur Drews , Joseph McCabeEcce Deus: Studies in Primitive Christianity. W. B. SmithThe Historic Jesus. David SmithJesus the Christ: Historical or Mythical?. T. J. ThorburnDie holländische radikale Kritik des Neuen Testaments. Ihre Geschichte und Bedeutung fü die Erkenntnis der Entstehung des Christentums. G. A. van den Bergh van EysingaThe Sources of the Christian Tradition: A Critical History of Ancient Judaism. Edouard Dujardin , Joseph McCabeThe People of God: An Inquiry into Christian Origins. H. F. HamiltonPrimitive Christianity and Its Non-Jewish Sources. Carl Clemen , R. G. NisbetDie Mysterienreligion und das Problem des I. Petrusbriefes. Ein literarischer und religionsgeschichtlicher Versuch. Richard Perdelwitz

1913 ◽  
Vol 17 (2) ◽  
pp. 279-285
Author(s):  
Shirley Jackson Case
2020 ◽  
Author(s):  
William Abbiss

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.


2020 ◽  
Author(s):  
William Abbiss

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.


1916 ◽  
Vol 9 (33) ◽  
pp. 76
Author(s):  
H. E. P. ◽  
H. F. Hamilton

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