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	<title>The Fortnightly Review &#187; Notes &amp; Comment</title>
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	<description>&#039;the stroke of an oar given in true time&#039;</description>
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		<title>Watching &#8216;Einstein on the Beach&#8217; through a periscope.</title>
		<link>http://fortnightlyreview.co.uk/2012/05/einstein-beach/</link>
		<comments>http://fortnightlyreview.co.uk/2012/05/einstein-beach/#comments</comments>
		<pubDate>Sun, 06 May 2012 11:37:01 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Dance & Performance]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Notes & Comment]]></category>
		<category><![CDATA[Anthony Howell]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=7214</guid>
		<description><![CDATA[Anthony Howell: Backwards clocks and crazed compasses dangle before our eyes, and I notice that everyone in the cast is wearing a watch. Time is Wilson’s essential subject. Things happen at different speeds yet ruthlessly conform to the order of brittleness. The stage is steeped in cloud, and a text on a drop curtain depicting a hydrogen bomb explosion reminds us of molecules of dust generating further terrible heat. We are judged by an elderly black man and a white child; by age and by race. As they consult with each other, a black circle covers a white disk. The cast open their paper bags. It’s okay, we’re not doomed. We’re only on our lunch break.]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Marianne Faithfull&#8217;s &#8216;Innocence and Experience&#8217;.</title>
		<link>http://fortnightlyreview.co.uk/2012/04/marianne-faithfulls-innocence-experience/</link>
		<comments>http://fortnightlyreview.co.uk/2012/04/marianne-faithfulls-innocence-experience/#comments</comments>
		<pubDate>Mon, 30 Apr 2012 13:25:54 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Art & Architecture]]></category>
		<category><![CDATA[Notes & Comment]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=7031</guid>
		<description><![CDATA[A Fortnightly Review of Innocence and Experience. Curated by Marianne Faithfull and John Dunbar Tate Gallery Liverpool. 21 April to 2 September 2012  By Denis Joe. THE MANNER IN which Marianne Faithfull&#8217;s exhibition in the DLA Piper Series at the Tate Liverpool is laid out is rather like reading a picture book  and not an [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Joseph de Maistre&#8217;s &#8216;different sort of progress&#8217;.</title>
		<link>http://fortnightlyreview.co.uk/2012/02/de-maistre/</link>
		<comments>http://fortnightlyreview.co.uk/2012/02/de-maistre/#comments</comments>
		<pubDate>Sat, 25 Feb 2012 13:20:04 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Books & Publishing]]></category>
		<category><![CDATA[Notes & Comment]]></category>
		<category><![CDATA[Philosophy & Education]]></category>
		<category><![CDATA[Principal Articles]]></category>
		<category><![CDATA[The Fortnightly Review of Books]]></category>
		<category><![CDATA[Anthony O'Hear]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=6320</guid>
		<description><![CDATA[Anthony O'Hear: There is one respect in which Maistre might himself be too much a figure of his own age: he is as much a believer in progress as his Enlightenment opponents. It is just a different sort of progress. ]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Notes on the complexities of Post-Modernism.</title>
		<link>http://fortnightlyreview.co.uk/2012/01/notes-post-modernism/</link>
		<comments>http://fortnightlyreview.co.uk/2012/01/notes-post-modernism/#comments</comments>
		<pubDate>Fri, 13 Jan 2012 14:24:36 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Art & Architecture]]></category>
		<category><![CDATA[Notes & Comment]]></category>
		<category><![CDATA[Principal Articles]]></category>
		<category><![CDATA[Charles Jencks]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=6083</guid>
		<description><![CDATA[Charles Jencks: In architecture, the movement has returned after the Neo-Modernism of the 1990s, in every way but by name. The world is now saturated by the confused labels of Modernism and Post-Modernism, but the streams of concerns to which these labels used to refer are continuing. That is apparent in architecture with the digital ornament (a leading movement), the iconic building (with its many marvellous and woeful examples), and the hybrid “time buildings” (that mix past, present and future architectural codes).]]></description>
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		<title>Postmodernism and history.</title>
		<link>http://fortnightlyreview.co.uk/2012/01/postmodernism-and-history/</link>
		<comments>http://fortnightlyreview.co.uk/2012/01/postmodernism-and-history/#comments</comments>
		<pubDate>Thu, 05 Jan 2012 19:04:19 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Art & Architecture]]></category>
		<category><![CDATA[Notes & Comment]]></category>
		<category><![CDATA[Principal Articles]]></category>
		<category><![CDATA[Anthony Howell]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=5954</guid>
		<description><![CDATA[Anthony Howell: Without postmodernism’s new take on history, Alison Marchant’s ‘archival art’ might never have surfaced, including her exhibition celebrating the cross-dressing (and very postmodern) Hannah Cullwick and the fetish photography of her eccentric husband Arthur Munby (who were an 1860’s couple similar in a way to Goude and Jones).]]></description>
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		<slash:comments>0</slash:comments>
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		<title>An &#8216;Iron Lady&#8217; turns to rust.</title>
		<link>http://fortnightlyreview.co.uk/2011/12/iron-lady/</link>
		<comments>http://fortnightlyreview.co.uk/2011/12/iron-lady/#comments</comments>
		<pubDate>Thu, 22 Dec 2011 19:08:33 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Film, Television, Video & Theatre]]></category>
		<category><![CDATA[Notes & Comment]]></category>
		<category><![CDATA[The Fortnightly Review of Films and Video]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=5891</guid>
		<description><![CDATA[Drew Moore: In Streep’s Thatcher we see a ball-busting leader well equipped with warmongering and anti-socialist rhetoric, as well as a schoolmarm rapidly alienating her cowering Cabinet. Most affecting, we see a feeble woman trying to preserve her dignity surrounded by guardians who have already consigned her to senility. One of the most enjoyable scenes is one in which the utterly lucid patient, with acerbic wit, puts her patronizing doctor in his place.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>A brief guide to Oxford&#8217;s &#8216;Very Short Introductions&#8217;.</title>
		<link>http://fortnightlyreview.co.uk/2011/12/oup-short-introductions/</link>
		<comments>http://fortnightlyreview.co.uk/2011/12/oup-short-introductions/#comments</comments>
		<pubDate>Thu, 08 Dec 2011 01:57:48 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Books & Publishing]]></category>
		<category><![CDATA[Notes & Comment]]></category>
		<category><![CDATA[The Fortnightly Review of Books]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=5780</guid>
		<description><![CDATA[Michelene Wandor: The first ‘Very Short Introduction’ appeared in the mid-1990s, and now there are nearly 300 books, which have sold over three million copies, and been translated into over twenty-five languages. The virtue is unadorned: A 'Very Short Introduction' contains all you need to know in order to decide if you need to know more. The recipe is a tough call: a 'Very Short Introduction' must necessarily historicise, provide an epistemological guide to the subject, analyse its conceptual and ideological issues, and wrap it all up – for now. ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Poetry of &#8216;a detailed curiosity&#8217;.</title>
		<link>http://fortnightlyreview.co.uk/2011/12/wandor-sklarew/</link>
		<comments>http://fortnightlyreview.co.uk/2011/12/wandor-sklarew/#comments</comments>
		<pubDate>Sat, 03 Dec 2011 14:11:26 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Books & Publishing]]></category>
		<category><![CDATA[Notes & Comment]]></category>
		<category><![CDATA[Poetry & Fiction]]></category>
		<category><![CDATA[The Fortnightly Review of Books]]></category>
		<category><![CDATA[Alan Wall]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=5736</guid>
		<description><![CDATA[Alan Wall: Although radically different books, both Michelene Wandor’s writing and Myra Sklarew’s exhibit a detailed curiosity regarding the minutiae of existence, whether itemising seventeenth-century trade or arachnid encounters. The threads that tie dissimilarities together, whether gossamer or memories of Lithuania, hold the poems together with an alert gracefulness. ]]></description>
		<wfw:commentRss>http://fortnightlyreview.co.uk/2011/12/wandor-sklarew/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>&#8216;Private Eye at 50&#8242;, surrounded by elderly gents in greatcoats.</title>
		<link>http://fortnightlyreview.co.uk/2011/11/private-eye-at-50-surrounded-by-elderly-gents-in-greatcoats/</link>
		<comments>http://fortnightlyreview.co.uk/2011/11/private-eye-at-50-surrounded-by-elderly-gents-in-greatcoats/#comments</comments>
		<pubDate>Tue, 22 Nov 2011 11:58:21 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Books & Publishing]]></category>
		<category><![CDATA[Notes & Comment]]></category>
		<category><![CDATA[Michelene Wandor]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=5607</guid>
		<description><![CDATA[Michelene Wandor: This laid-back exhibition of images from its first fifty years, nestles in two interconnecting rooms at the V &#038; A, conveniently on the route to the wonderful café. Lining one high wall are covers, each of which catches a chilling moment in recent political history. There is a young Tony Blair, dark hair waving over his head, visiting an elderly person in hospital. Blair has a huge grin, reassuring the patient that ‘there’ll be a spin-doctor along in a minute’.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Coleridge as a poet.</title>
		<link>http://fortnightlyreview.co.uk/2011/10/coleridge-as-a-poet/</link>
		<comments>http://fortnightlyreview.co.uk/2011/10/coleridge-as-a-poet/#comments</comments>
		<pubDate>Sat, 29 Oct 2011 15:34:16 +0000</pubDate>
		<dc:creator>The Editors</dc:creator>
				<category><![CDATA[Books & Publishing]]></category>
		<category><![CDATA[Notes & Comment]]></category>
		<category><![CDATA[Poetry & Fiction]]></category>
		<category><![CDATA[Principal Articles]]></category>
		<category><![CDATA[Reference Archive]]></category>
		<category><![CDATA[The Fortnightly Review of Books]]></category>

		<guid isPermaLink="false">http://fortnightlyreview.co.uk/?p=5242</guid>
		<description><![CDATA[Edward Dowden: Coleridge broke with tradition in the vulgar sense of the word; he broke with tradition in theology, philosophy, politics; yet he did so in a spirit more truly loyal to the past than was the common orthodoxy in theology or philosophy, or the common Toryism in politics.]]></description>
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		<slash:comments>0</slash:comments>
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