Small Town, Fife. Andy and Vicky were meant to be getting married tomorrow. The trouble is, Andy's stag weekend was so epic, so legendary, that he didn't survive it. The finest pleasures that Amsterdam and Hamburg have to offer, together with a mile-high fling with a budget-airline stewardess, brought him down to earth with a bump. Now it's time for the post-mortem. A black comedy about waking up to find the party's over, Gregory Burke's Hoors premiered at the Traverse Theatre, Edinburgh, in May 2009.
Gagarin Way, by Dunfermline playwright Gregory Burke, is a cruel, funny first play about a human heist gone horribly wrong. Winner of the Meyer/Whitworth Award 2002, Winner of the Critics' Circle Award 2002 and winner of the Scotsman Fringe First of the Firsts Award 2001, Gregory Burke's 'sensational debut play' (Daily Telegraph) was premiered at the Traverse Theatre, Edinburgh, and the Royal National Theatre, London, in 2001, transferred to the Arts Theatre, London, in 2002 and was revived for a tour of Scotland later that year.
Gibraltar 1982 and an extraordinary summer in the lives of four teenagers. But for the sons and daughters of the British Forces, another war beginning in the South Atlantic will soon bring a dark heart to their world.
A panoramic explanation of "civic tourism" and the shaping of a national identity At the same time a reading of Kenneth Burke and of tourist landscapes in America, Gregory Clark's new study explores the rhetorical power connected with American tourism. Looking specifically at a time when citizens of the United States first took to rail and then highway to become sightseers in their own country, Clark traces the rhetorical function of a wide-ranging set of tourist experiences. He explores how the symbolic experiences Americans share as tourists have helped residents of a vast and diverse nation adopt a national identity. In doing so he suggests that the rhetorical power of a national culture is wielded not only by public discourse but also by public experiences. Clark examines places in the American landscape that have facilitated such experiences, including New York City, Shaker villages, Yellowstone National Park, the Lincoln Highway, San Francisco's 1915 Panama-Pacific International Exposition, and the Grand Canyon. He examines the rhetorical power of these sites to transform private individuals into public citizens, and he evaluates a national culture that teaches Americans to experience certain places as potent symbols of national community. Invoking Burke's concept of "identification" to explain such rhetorical encounters, Clark considers Burke's lifelong study of symbols—linguistic and otherwise—and their place in the construction and transformation of individual identity. Clark turns to Burke's work to expand our awareness of the rhetorical resources that lead individuals within a community to adopt a collective identity, and he considers the implications of nineteenth- and twentieth-century tourism for both visual rhetoric and the rhetoric of display.
Jazz is born of collaboration, improvisation, and listening. In much the same way, the American democratic experience is rooted in the interaction of individuals. It is these two seemingly disparate, but ultimately thoroughly American, conceits that Gregory Clark examines in Civic Jazz. Melding Kenneth Burke’s concept of rhetorical communication and jazz music’s aesthetic encounters with a rigorous sort of democracy, this book weaves an innovative argument about how individuals can preserve and improve civic life in a democratic culture. Jazz music, Clark argues, demonstrates how this aesthetic rhetoric of identification can bind people together through their shared experience in a common project. While such shared experience does not demand agreement—indeed, it often has an air of competition—it does align people in practical effort and purpose. Similarly, Clark shows, Burke considered Americans inhabitants of a persistently rhetorical situation, in which each must choose constantly to identify with some and separate from others. Thought-provoking and path-breaking, Clark’s harmonic mashup of music and rhetoric will appeal to scholars across disciplines as diverse as political science, performance studies, musicology, and literary criticism.
This lavish 128-page publication is the first significant review of a group of major New Zealand artists exhibiting under the collective title of et al, that feature in the Govett-Brewster Art Gallery's major project abnormal mass delusions? The publication features new writing by Jim Barr, Mary Barr, Gregory Burke, Tessa Laird, Ewen McDonald, Gwyneth Porter and Hanna Scott, and a chronology of the artists' work history. The catalogue, edited by the show's curators Jim Barr, Mary Barr and Gregory Burke investigates the lives and achievements of this innovative collective of artists featuring Marlene Cubewell, the Blanche Ready-Made Trust, and l budd, amongst others.
EXTENDED PLAY: ART REMIXING MUSIC presents an insightful and colourful record of 17 contemporary artists who have made artworks exploring the interaction of art and music. The works, created as art for art spaces, are reminiscent of MTV styled music videos, redesigned record covers and even feature music written and performed by the artists. The catalogue, produced in the same format as the popular publications Drive and Feature, features collaborative writing by curators Gregory Burke and Simon Rees and an enlightening text about the entwining of bands and art schools by renowned Canadian writer and curator Ihor Holubizky. The publication contains comprehensive descriptions of each work and artist biographies.
Although many of Edmund Burke's speeches and writings contain prominent economic dimensions, his economic thought seldom receives the attention it warrants. Commerce and Manners in Edmund Burke's Political Economy stands as the most comprehensive study to date of this fascinating subject. In addition to providing rigorous textual analysis, Collins unearths previously unpublished manuscripts and employs empirical data to paint a rich historical and theoretical context for Burke's economic beliefs. Collins integrates Burke's reflections on trade, taxation, and revenue within his understanding of the limits of reason and his broader conception of empire. Such reflections demonstrate the ways that commerce, if properly managed, could be an instrument for both public prosperity and imperial prestige. More importantly, Commerce and Manners in Edmund Burke's Political Economy raises timely ethical questions about capitalism and its limits. In Burke's judgment, civilizations cannot endure on transactional exchange alone, and markets require ethical preconditions. There is a grace to life that cannot be bought.
This handsome 56-page catalogue features a curatorial essay by Gregory Burke and an enlightening text by Jonathan Bywater that tackles the metaphysical and ethical implications of altered nature. The catalogue also contains artist biographies, colour plates of and commentary on the works in the show.
The Govett-Brewster presents the powerful work of internationally acclaimed Los Angeles artist Sam Durant. Durant, the Gallery's 2003 international artist in residence, explores the disintegration of 1960s utopia and the hippie movement in relation to the Rolling Stones' historic 1969 Altamont concert at which is has often been said the sixties ended. The publication includes writing by the artist Sam Durant, project curator Greg Burke and a major essay 'Rewinding histories' by German critic Nils Plath.
Why should anyone bother with Coleridge either as a theologian or a political theorist? At first in desperation, but now quite deliberately, Alan Gregory convincingly suggests that one should bother because Coleridge mounted an imporant critique of reductionist explanations of human society and moral agency, and because Coleridge has much regarding that important enterprise to teach us still. While Gregory also offers a perceptive outline of early British conservatism, his main concern is with Coleridge's attack on reductionism, including his defense of the will against associationism, his criticisms of Enlightenment historiography, his discussions of the inadequacies of political economy, and the Trinitarian arguments against monism. There is, Gregory remarks, no grasping the range or inner dynamic of Coleridge's thought without appreciating his religious vision, his theology. Indeed, Coleridge himself affirmed that should we try to conceive a man without the ideas of God, eternity, freedom, will, absolute truth, of the good, the true, the beautiful, the infinite...the man will have vanished.
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