Exclusive Visions? Representations of Family,Work and Gender in the Work of the British Social Exclusion Unit

The Social Exclusion Unit (SEU) of the British Government is a recent and innovative response to social problems in the UK. Through an examination of selected publications of the SEU, the article highlights some of the representations of family, work and gender which provide the discursive context in which the SEU operates and to which it, in turn, contributes. The article suggests that perspectives found in the post-1945 welfare state continue to influence approaches to problems of exclusion. Whilst there are areas in which current political thinking shows evidence of sensitivity to the social recomposition that has attended economic restructuring since 1970, it is argued that there remain tendencies within SEU discussions which reinforce a more nostalgic constitution of work, family and gender relations. Consequently, the article concludes that the potential of the social exclusion debate to grasp fundamental issues is yet to be fully realised.     

Faith-based Queer Space in Washington,DC: The Metropolitan Community Church-DC and Mount Vernon Square

Religion and spirituality are important in queer place-making processes. More than a private part of life relegated beneath sexual identity, religious affiliation and spirituality motivate queers to interpret, experience, and shape space in distinct ways. Just as studies of queer residential spaces have neglected religion and spirituality, so have studies of queer religiosity and spirituality ignored less morally charged arenas of life such as residential choices and gentrification. Considering the material impact of spirituality and religion and understanding competing visions for the future of space in queer residential communities contributes to a clearer view of queer residential strategies. In Washington, DC, Christian queers are working with others to shape a distinct residential space called Mount Vernon Square. This ethnographic study offers a broader framework for understanding how some queers integrate sexuality and spirituality in their residential choices.     

An Illustration of the Use of an Atypicality Index in Provenancing British Stone Axes

An atypicality index has been used to compare the chemical compositions of 11 British prehistoric implements (axes and axe‐hammers, and a mace) with previously suggested and likely sources in South Wales (Group XIII spotted dolerite from the Carnmenyn area, and Group VIII rhyolite from Carnalw). Atypicality indices together with mineralogy indicate that only two out of six supposed Group XIII implements are likely to be Group XIII, and only one of the five rhyolite implements is likely to originate from Carnalw. These results provide statistical support for earlier provenancing of seven of the implements, and provide the first geochemical source information for four implements. The results illustrate the usefulness of the atypicality index in archaeology, and support the idea that Groups XIII and VIII comprise a larger variety of chemical types than previously thought. Further work is now needed to determine how prevalent this variety is within these implement groups.     

Ancients and moderns in medieval music theory: from Guido of Arezzo to Jacobus

ABSTRACT

Medieval discourse about both the theory and practice of music featured much debate about the views of moderni and antiqui from when Guido of Arezzo devised a new way of recording pitch in the early eleventh century to the complaints of Jacobus in the early fourteenth century about new forms of measured music in the ars nova. There was also a shift from a Boethian notion that practical music was a manifestation of cosmic music, towards a more Aristotelian model, that privileged music as sensory experience. That this could have a profound effect on human emotion was articulated by Johannes de Grocheio writing about music c. 1270 and Guy of Saint-Denis soon after 1300 about plainchant. Jacobus, writing in the 1320s, was troubled by this shift in thinking about music not as reflections of transcendent realities, but as sounds of human invention that served to move the soul. He argued that musical patterns should reflect a transcendent harmony that was both cosmic and celestial.