A grandad of 24 offered a '14-year-old boy' a trip to McDonald's in exchange for a seedy hotel stay. Senior Lecturer; Programme Director for MSc in Classics, MSc in Ancient History and MSc in Classical Art & Archaeology Then Janice went into hospital again, after being on a waiting list for months. She had a lump in her breast that was getting bigger. First they gave her a large dose of pethidine [a fast-acting opiate]. Then they gave her the consent form. It basically said: 'We believe this to be non-malignant but whatever we now discover, you empower us to treat it as we see fit.' So she went in for a biopsy and woke up without a breast. That was such a trauma for her."

Griffiths, T. and Morton, G. (eds.) (2010) A History of Everyday Life in Scotland, 1800 to 1900. Edinburgh: Edinburgh University Press Articles Griffiths, T. (2019) Making a living at the cinema: Scottish cinema staff in the silent era. In: Caughie, J., Griffiths, T. and Velez-Serna, M. (eds.) Early Cinema in Scotland. Edinburgh: Edinburgh University Press, pp. 68-90DOI: https://doi.org/10.3366/edinburgh/9781474420341.003.0005 The latter may have been an urgent question in the 1970s, when the unreconstructed, "my mother-in-law" generation, made famous by ITV's The Comedians – featuring Bernard Manning, Frank Carson, Jim Bowen, et al – were about to be elbowed aside by an angry mob of truth-tellers. Nowadays, though, entertainment versus truth seems like a false opposition. Most standups don't see them as mutually exclusive, and almost all are situated on a continuum between those poles rather than (as per Griffiths's play) uncompromisingly at one end or the other.

Abstract

A 25-minute extract from the play was screened as part of BBC2's 2nd House arts strand on 15 March 1975, directed by Richard Eyre and Ben Rea, with the selected members of the original stage cast: Chancellor's Fellow in Heritage, Text and Data Mining and Senior Lecturer in Heritage; HCA and Edinburgh Futures Institute Kate Quartano Brown read English at Oxford and studied singing in Austria before becoming a director. She has worked with most of the major British opera companies, and across Europe and the US. She was the first woman to direct Handel operas at the festivals of Göttingen ( Riccardo Primo) and Halle ( Flavio). In Glasgow she directed the first modern productions of the operas of Rospigliosi (Pope Clement IX). Modern opera productions include the premiere of Jonathan Dove’s Tobias and the Angel. In addition, she has written and produced numerous smaller-scale pieces based around the music of Purcell ( An Elegy for Mr Purcell) , Hildegard of Bingen ( A Conversation with Angels), Haydn ( Lady Hamilton’s Attitudes), and ancient Scottish and Galician chant and songs ( Celtic Voyages). She is very interested in how practising contemporary acting techniques can illuminate the performance of early opera, and was given an STR award for her Passions Project (in association with the Guildhall School of Music and Drama) Kate Newey is Professor of Theatre History at the University of Exeter, and Chair of SCUDD, 2018-21. She has been a member of the Society for Theatre Research since the mid-1980s, when she started her PhD on English melodrama. Kate was a judge for the STR Theatre Book Award in 2008, and now chairs the Research Grants sub-committee for the STR. Kate is a nineteenth-century historian who has published widely on melodrama, tragedy, popular culture, the theatre of the nineteenth century, and women’s writing. Caughie, J., Griffiths, T. and Vélez-Serna, M. (2018) Early Cinema in Scotland. Edinburgh: Edinburgh University PressDOI: https://doi.org/10.3366/edinburgh/9781474420341.001.0001

On January 15, Griffiths said the boy 'made him feel good inside and he feels happy and wants to know whether Mark loves him'. Appointed Lecturer in Economic and Social History at the University of Edinburgh in 1994, on a one-year contract, and subsequently proved so difficult to get rid of that the appointment was made permanent in 2000. I was promoted to Senior Lecturer in 2004. For longer than I care to remember, I was Quality Assurance Officer for Economic and Social History, and then for the School of History and Classics, before becoming in 2010 the Head of the Economic and Social History section within the School of History, Classics and Archaeology.Griffiths, T. (1996) Technological change during the first industrial revolution: the paradigm case of textiles, 1688-1851. In: Fox, R. (ed.) Technological Change: Methods and Themes in the History of Technology. Routledge, pp. 155-76 There are quite a few things Trevor Griffiths has no time for, chief among them the cult of celebrity. He starts talking about Rogue's Gallery, last summer's extraordinary concert of sea shanties organised by producer Hal Willner and performed at the Barbican, with a cast that included Shane MacGowan, Martha Wainwright and Ralph Steadman. He mentions, in passing, that the actor and director Tim Robbins, who also sang that night, had spent the whole afternoon with him, before going on stage. a b Alycia Smith Howard, Studio Shakespeare: The Royal Shakespeare Company at The Other Place, Aldershot: Ashgate, 2006, pp. 19–20.