Raymond Henry Williams (31 August 1921 â 26 January 1988) was a Welsh socialist writer, academic, novelist and critic influential within the New Left and in wider culture. His writings on politics, culture, the media and literature contributed to the Marxist critique of culture and the arts. Some 750,000 copies of his books were sold in UK editions alone, and there are many translations available. His work laid foundations for the field of cultural studies and cultural materialism.
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đ Raymond Williams in the context of Bloomsbury Group
The Bloomsbury Group was a group of associated British writers, intellectuals, philosophers and artists in the early 20th century. Among the people involved in the group were Virginia Woolf, John Maynard Keynes, E. M. Forster, Vanessa Bell, and Lytton Strachey. Their works and outlook deeply influenced literature, aesthetics, criticism, and economics, as well as modern attitudes towards feminism, pacifism, and sexuality.
Although popularly thought of as a formal group, it was a loose collective of friends and relatives closely associated with the University of Cambridge for the men and King's College London for the women, who at one point lived, worked or studied together near Bloomsbury, London. According to Ian Ousby, "although its members denied being a group in any formal sense, they were united by an abiding belief in the importance of the arts." The historian Raymond Williams disputed the existence of the group and the extent of its impact.
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Raymond Williams in the context of Tragedy
A tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character or cast of characters. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure," for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuityâ"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.
Originating in the theatre of ancient Greece 2500 years ago, where only a fraction of the works of Aeschylus, Sophocles and Euripides survive, as well as many fragments from other poets, and the later Roman tragedies of Seneca; through its singular articulations in the works of Shakespeare, Lope de Vega, Jean Racine, and Friedrich Schiller to the more recent naturalistic tragedy of Henrik Ibsen and August Strindberg; Nurul Momen's Nemesis' tragic vengeance & Samuel Beckett's modernist meditations on death, loss and suffering; Heiner MĂźller postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophersâwhich includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan, and Deleuzeâhave analysed, speculated upon, and criticised the genre.
Raymond Williams in the context of Cultural materialism (cultural studies)
Cultural materialism in literary theory and cultural studies traces its origin to the work of the left-wing literary critic Raymond Williams. Cultural materialism espouses analysis based in critical theory, in the tradition of the Frankfurt School. Key Words: A Journal of Cultural Materialism is dedicated to developing the field, and has been published by the Raymond Williams Society since 1998.
Raymond Williams in the context of Stuart Hall (cultural theorist)
Stuart Henry McPhail Hall FBA (3 February 1932 â 10 February 2014) was a Jamaican-born British Marxist sociologist, cultural theorist, and political activist. Hall â along with Richard Hoggart and Raymond Williams â was one of the founding figures of the school of thought known as British Cultural Studies or the Birmingham School of Cultural Studies.
In the 1950s, Hall was a founder of the influential journal New Left Review. At Hoggart's invitation, he joined the Centre for Contemporary Cultural Studies (CCCS) at the University of Birmingham in 1964. Hall took over from Hoggart as acting director of the CCCS in 1968, became its director in 1972, and remained there until 1979. While at the centre, Hall is credited with playing a role in expanding the scope of cultural studies to deal with race and gender, and with helping to incorporate new ideas derived from the work of French theorists such as Michel Foucault.