Amy Levy: Critical Essays
Naomi Hetherington Ohio University Press, 2010 Library of Congress PR4886.L25Z56 2010 | Dewey Decimal 828.809
Amy Levy has risen to prominence in recent years as one of the most innovative and perplexing writers of her generation. Embraced by feminist scholars for her radical experimentation with queer poetic voice and her witty journalistic pieces on female independence, she remains controversial for her representations of London Jewry that draw unmistakably on contemporary antisemitic discourse.
Amy Levy: Critical Essays brings together scholars working in the fields of Victorian cultural history, women’s poetry and fiction, and the history of Anglo-Jewry. The essays trace the social, intellectual, and political contexts of Levy’s writing and its contemporary reception. Working from close analyses of Levy’s texts, the collection aims to rethink her engagement with Jewish identity, to consider her literary and political identifications, to assess her representations of modern consumer society and popular culture, and to place her life and work within late-Victorian cultural debate.
This book is essential reading for undergraduate and postgraduate students offering both a comprehensive literature review of scholarship-to-date and a range of new critical perspectives.
After a century of critical neglect, poet and writer Amy Levy is gaining recognition as a literary figure of stature.
This definitive biography accompanied by her letters, along with the recent publication of her selected writings, provides a critical appreciation of Levy's importance in her own time and in ours.
As an educated Jewish woman with homoerotic desires, Levy felt the strain of combating the structures of British society in the 1880s, the decade in which she built her career and moved in London's literary and bohemian circles. Unwilling to cut herself off from her Jewish background, she had the additional burden of attempting to bridge the gap between communities.
In Amy Levy: Her Life and Letters Linda Hunt Beckman examines Levy's writings and other cultural documents for insight into her emotional and intellectual life. This groundbreaking study introduces us to a woman well deserving of a place in literary and cultural history.
Uncovering strange plots by early British anthropologists to use scientific status to manipulate the stock market, Anthropologists in the Stock Exchange tells a provocative story that marries the birth of the social sciences with the exploits of global finance. Marc Flandreau tracks a group of Victorian gentleman-swindlers as they shuffled between the corridors of the London Stock Exchange and the meeting rooms of learned society, showing that anthropological studies were integral to investment and speculation in foreign government debt, and, inversely, that finance played a crucial role in shaping the contours of human knowledge.
Flandreau argues that finance and science were at the heart of a new brand of imperialism born during Benjamin Disraeli’s first term as Britain’s prime minister in the 1860s. As anthropologists advocated the study of Miskito Indians or stated their views on a Jamaican rebellion, they were in fact catering to the impulses of the stock exchange—for their own benefit. In this way the very development of the field of anthropology was deeply tied to issues relevant to the financial market—from trust to corruption. Moreover, this book shows how the interplay between anthropology and finance formed the foundational structures of late nineteenth-century British imperialism and helped produce essential technologies of globalization as we know it today.
"The social construction of scientific knowledge, clearly one of the most exciting trends in the history of science in the 1890's, has made a solid stride forward with the publication of Archetypes and Ancestors. . . . Adrian Desmond set out to determine how much light might be shed on the mid-Victorian controversies over fossil reconstruction by an investigation of the ideological commitments and political programs of London paleontologists. The answer is: a great deal of light. The resulting book is thoroughly fascinating."—Philip Rehbock, American Historical Review
"A sophisticated study of the colonization of scientific territory—specifically of rival attempts to design the dinosaur—and of the constructive (not just obstructive) role of social pressures in the making of 'lasting contributions' to science. Not least it is a joy to read, perkily irreverent at times and full of nice vignettes and memorable turns of phrase."—Roy Porter, Times Higher Education Supplement
Backward Glances is an exploration of the history of male street cruising. Too often in discussions of urban space and interpretations of urban culture, streetwalking implies a rigid model for the way we inhabit the streets. Beginning with the simple premise that we all walk the streets differently, Mark Turner suggests that male cruising operates through encounter and connection rather than alienation, and that it is the defining experience of what it means to be modern.
Backward Glances is the first gay urban history of its kind, examining these issues across a range of cultural material, including novels, poems, pornography, journalism, gay guides, paintings, the internet, and fragments of writing about the city such as Whitman's notebooks and David Hockney's graffiti. It provides a new way of understanding what it means for a man to walk the streets of the modern Western city.
Backward Glances is aimed at all those interested in the culture of the city, queer cultural history and the appropriation of public space.
Tobe completed in 12volumes, this monumental work here begins publication with the first two volumes—Abaco to Bertie and Bertin to Byzard. When completed, it is expected that the biographical dictionary will include information on more than 8,500 individuals.
Hundreds of printed sources have been searched for this project, and dozens of repositories combed, and the names of personnel listed have been filtered through parish registers whenever possible. From published and unpublished sources, from wills, archives of professional societies and guilds, from records of colleges, universities, and clubs, and from the contributions of selfless scholars, the authors have here assembled material which illuminates theatrical and musical activity in London in the 1660–1800 period.
The information here amassed will doubtless be augmented by other specialists in Restoration and eighteenth-century theatre and drama, but it is not likely that the number of persons now known surely or conjectured finally to have been connected with theatrical enterprise in this period will ever be increased considerably. Certainly, the contributions made here add immeasurably to existing knowledge, and in a number of instances correct standard histories or reference works.
The accompanying illustrations, estimated to be some 1,400 likenesses—at least one picture of each subject for whom a portrait exists—may prove to be a useful feature of the Work. The authors have gone beyond embellishment of the text, and have attempted to list all original portraits any knowledge of which is now recoverable, and have tried to ascertain the present location of portraits in every medium.
Brothers of the Quill
Norma Clarke Harvard University Press, 2016 Library of Congress PR3493.C57 2016 | Dewey Decimal 828.609
Oliver Goldsmith arrived in England a penniless Irishman and toiled for years in the anonymity of Grub Street. Norma Clarke tells how this destitute scribbler became one of literary London’s most celebrated authors, transmuting dark truths about the empire into fable and nostalgia whose undertow of Irish indignation remains just barely perceptible.
C. L. R. James in Imperial Britain chronicles the life and work of the Trinidadian intellectual and writer C. L. R. James during his first extended stay in Britain, from 1932 to 1938. It reveals the radicalizing effect of this critical period on James's intellectual and political trajectory. During this time, James turned from liberal humanism to revolutionary socialism. Rejecting the "imperial Britishness" he had absorbed growing up in a crown colony in the British West Indies, he became a leading anticolonial activist and Pan-Africanist thinker. Christian Høgsbjerg reconstructs the circumstances and milieus in which James wrote works including his magisterial study The Black Jacobins. First published in 1938, James's examination of the dynamics of anticolonial revolution in Haiti continues to influence scholarship on Atlantic slavery and abolition. Høgsbjerg contends that during the Depression C. L. R. James advanced public understanding of the African diaspora and emerged as one of the most significant and creative revolutionary Marxists in Britain.
As London became the first major city of the nineteenth century, new models of representation emerged in the journalism, poetry, fiction, and social commentary of the period. Simon Joyce argues that such writing reflected a persistent worry about the problem of crime but was never able to contain it. Such commentators as Wordsworth, Dickens, Mayhew, Stevenson, Conan Doyle, Booth, and Wilde all struggled with the same questions about how to represent London and the relations among its varied populations, yet their accounts often undermined one another.
Whereas Victorian social science presumed a correlation between criminal activity, geographical residence, and social class, the popular literature of the period often sought just as strenuously to deny the link, giving rise to privileged and pathological offenders like Dorian Gray and Dr. Jekyll. This in turn shifted attention away from the urban slums that had been the setting for the so-called Newgate novels of the 1830s and 1840s. By 1900, crime appears as a distinctively modern problem, requiring large-scale solutions and government intervention in place of an older approach that was rooted in personal morality or philanthropic paternalism.
Illustrating "literary geography"--in which physical space is not merely a backdrop for the plot but an integral element in shaping textual meaning--Simon Joyce's Capital Offenses reveals how certain geographical patterns can not only give weight to interpretive meanings already suggested in the texts but also enable us to read them in a new and surprising light.
Simon Joyce is Associate Professor of English and Director of Literary and Cultural Studies at the College of William and Mary.
From tabloid exposes of child prostitution to the grisly tales of Jack the Ripper, narratives of sexual danger pulsated through Victorian London. Expertly blending social history and cultural criticism, Judith Walkowitz shows how these narratives reveal the complex dramas of power, politics, and sexuality that were being played out in late nineteenth-century Britain, and how they influenced the language of politics, journalism, and fiction.
Victorian London was a world where long-standing traditions of class and gender were challenged by a range of public spectacles, mass media scandals, new commercial spaces, and a proliferation of new sexual categories and identities. In the midst of this changing culture, women of many classes challenged the traditional privileges of elite males and
asserted their presence in the public domain.
An important catalyst in this conflict, argues Walkowitz, was W. T. Stead's widely read 1885 article about child prostitution. Capitalizing on the uproar caused by the piece and the volatile political climate of the time, women spoke of sexual danger, articulating their own grievances against men, inserting themselves into the public discussion of sex to an unprecedented extent, and gaining new entree to public spaces and journalistic practices. The ultimate manifestation of class anxiety and gender antagonism came in 1888 with the tabloid tales of Jack the Ripper. In between, there were quotidien stories of sexual possibility and urban adventure, and Walkowitz examines them all, showing how women were not simply figures in the imaginary landscape of male spectators, but also central actors in the stories of metropolotin life that reverberated in courtrooms, learned journals, drawing rooms, street corners, and in the letters columns of the daily press.
A model of cultural history, this ambitious book will stimulate and enlighten readers across a broad range of interests.
Cleansing the City: Sanitary Geographies in Victorian London explores not only the challenges faced by reformers as they strove to clean up an increasingly filthy city but the resistance to their efforts.
Beginning in the 1830s, reform-minded citizens, under the banner of sanitary
improvement, plunged into London’s dark and dirty spaces and returned with
the material they needed to promote public health legislation and magnificent
projects of sanitary engineering. Sanitary reform, however, was not always
met with unqualified enthusiasm. While some improvements, such as slum
clearances, the development of sewerage, and the embankment of the Thames,
may have made London a cleaner place to live, these projects also destroyed
and reshaped the built environment, and in doing so, altered the meanings and
experiences of the city.
From the novels of Charles Dickens and George Gissing to anonymous magazine
articles and pamphlets, resistance to reform found expression in the nostalgic
appreciation of a threatened urban landscape and anxiety about domestic autonomy
in an era of networked sanitary services. Cleansing the City emphasizes
the disruptions and disorientation occasioned by purification—a process we are
generally inclined to see as positive. By recovering these sometimes oppositional,
sometimes ambivalent responses, Michelle Allen elevates a significant undercurrent
of Victorian thought into the mainstream and thus provides insight into the
contested nature of sanitary modernization.
In 1759 the British Museum opened its doors to the public—the first free national museum in the world. James Delbourgo recounts the story behind its creation through the life of Hans Sloane, a controversial luminary with an insatiable ambition to pit universal knowledge against superstition and few curbs on his passion for collecting the world.
In the Anglo-Atlantic world of the late nineteenth century, groups of urban residents struggled to reconstruct their cities in the wake of industrialization and to create the modern city. New professional men wanted an orderly city that functioned for economic development. Women’s vision challenged the men’s right to reconstruct the city and resisted the prevailing male idea that women in public caused the city’s disorder.
Constructing the Patriarchal City compares the ideas and activities of men and women in four English-speaking cities that shared similar ideological, professional, and political contexts. Historian Maureen Flanagan investigates how ideas about gender shaped the patriarchal city as men used their expertise in architecture, engineering, and planning to fashion a built environment for male economic enterprise and to confine women in the private home. Women consistently challenged men to produce a more equitable social infrastructure that included housing that would keep people inside the city, public toilets for women as well as men, housing for single, working women, and public spaces that were open and safe for all residents.
In 1937, Betty Swallow was a young London secretary enjoying the social whirl of the world’s most sophisticated metropolis. She came to know fellow movie buff Helen Bradley of Kansas City through a movie magazine, and their initially lighthearted correspondence about film stars came to encompass a world war—and reflect Betty’s unique view of it.
Today there are countless descriptions of wartime Britain from historians and journalists; Dear Helen depicts World War II—from its buildup to its aftermath—from the perspective of an average London citizen, with details of daily life that few other documents provide. In letters written from 1937 to 1950 and now housed at the Winston Churchill Memorial and Library at Westminster College in Fulton, Missouri, Betty shares accounts of the Blitz and wartime deprivations, then of the postwar austerity programs, in passages that interweave daily terror with talk about theater, clothes, and family outings.
Betty is the epitome of English pluck: patriotic, practical, and romantic despite the bombs falling about her. She laments the lack of ingredients for a proper Christmas pudding, but Helen’s holiday package of candy, nylons, and cosmetics helps make up for the shortages. She shares graphic descriptions of the relentless attacks on London but tells also of how silk stockings or a trip to the cinema could take the edge off nights spent in an underground shelter—where “lying about on wet and cold stone floors, breathing bad air” took a toll on her health.
These letters do more than document headlines and daily life: they candidly convey British attitudes toward American isolationism prior to Pearl Harbor and reveal how the English felt about taking on the Nazis alone. They also tell of the social changes that transformed English society—including Betty’s transformation from Tory to Socialist—and how the cold war had a different impact on British citizens than on Americans. Throughout the exchange, the haven that Betty and Helen shared in the world of movies becomes a frequent counterpoint to the stress of the war.
Dear Helen is a book of rich personal drama that further attests to the British-American “special relationship.” Through this sustained correspondence spanning the war years, we meet a real person whose reflections shed light on British opinion during the harshest times and whose experiences give us new insight into the horror of the Blitz.
Peter Clark Haus Publishing, 2012 Library of Congress PR4584.C58 2012
Few novelists have written so intimately about a city in the way that Charles Dickens wrote about London. A nearphotographic memory made his contact with the city indelible from a very young age and it remained his constant focus. Virginia Woolf maintained that, "we remodel our psychological geography when we read Dickens," as he produces "characters who exist not in detail, not accurately or exactly, but abundantly in a cluster of wild yet extraordinarily revealing remarks." But the "character" he was drawn back to throughout his novels was London itself, all aspects of the capital from the coaching inns of his early years to the taverns and watermen of the Thames; these were the constant cityscapes of his life and work. Based on five walks through central London, Peter Clark illuminates the settings of Dickens's greatest works, his life, his journalism and his fiction. He also explores "The First Suburbs" (Camden Town, Chelsea, Greenwich, Hampstead, Highgate and Limehouse) as they feature in Dickens's writing.
In the London summer of 1894, members of the National Vigilance Society, led by the well-known social reformer Laura Ormiston Chant, confronted the Empire Theatre of Varieties, Leicester Square, and its brilliant manager George Edwardes as he applied for a routine license renewal. On grounds that the Empire's promenade was the nightly resort of prostitutes, that the costumes in the theatre's ballets were grossly indecent, and that the moral health of the nation was imperiled, Chant demanded that the London County Council either deny the theatre its license or require radical changes in the Empire's entertainment and clientele before granting renewal. The resulting license restriction and the tremendous public controversy that ensued raised important issues--social, cultural, intellectual, and moral--still pertinent today.Fantasies of Empire is the first book to recount in full the story of the Empire licensing controversy in all its captivating detail. Contemporaneous accounts are interwoven with Donohue's identification and analysis of the larger issues raised: What the controversy reveals about contemporary sexual and social relations, what light it sheds on opposing views regarding the place of art and entertainment in modern society, and what it says about the pervasive effect of British imperialism on society's behavior in the later years of Queen Victoria's reign. Donohue connects the controversy to one of the most interesting developments in the history of modern theatre, the simultaneous emergence of a more sophisticated, varied, and moneyed audience and a municipal government insistent on its right to control and regulate that audience's social and cultural character and even its moral behavior.Rich in illustrations and entertainingly written, Fantasies of Empire will appeal to theatre, dance, and social historians and to students of popular entertainment, the Victorian period, urban studies, gender studies, leisure studies, and the social history of architecture.
From floating barges of urban refuse to dung-encrusted works of art, from toxic landfills to dirty movies, filth has become a major presence and a point of volatile contention in modern life. This book explores the question of what filth has to do with culture: what critical role the lost, the rejected, the abject, and the dirty play in social management and identity formation. It suggests the ongoing power of culturally mandated categories of exclusion and repression.Focusing on filth in literary and cultural materials from London, Paris, and their colonial outposts in the nineteenth and early twentieth centuries, the essays in Filth, all but one previously unpublished, range over topics as diverse as the building of sewers in nineteenth-century European metropolises, the link between interior design and bourgeois sanitary phobias, fictional representations of laboring women and foreigners as polluting, and relations among disease, disorder, and sexual-racial disharmony. Filth provides the first sustained consideration, both theoretical and historical, of a subject whose power to horrify, fascinate, and repel is as old as civilization itself.Contributors: David S. Barnes, U of Pennsylvania; Neil Blackadder, Knox College; Joseph Bristow, U of California, Los Angeles; Joseph W. Childers, U of California, Riverside; Eileen Cleere, Southwestern U; Natalka Freeland, U of California, Irvine; Pamela K. Gilbert, U of Florida; Christopher Hamlin, U of Notre Dame; William Kupinse, U of Puget Sound; Benjamin Lazier, U of Chicago; David L. Pike, American U; David Trotter, U of Cambridge.William A. Cohen is associate professor of English at the University of Maryland and the author of Sex Scandal: The Private Parts of Victorian Fiction.Ryan Johnson is completing his Ph.D. in the Department of English at Stanford University, where he has served as general editor of the Stanford Humanities Review.
In Fragments and Assemblages, Arthur Bahr expands the ways in which we interpret medieval manuscripts, examining the formal characteristics of both physical manuscripts and literary works. Specifically, Bahr argues that manuscript compilations from fourteenth-century London reward interpretation as both assemblages and fragments: as meaningfully constructed objects whose forms and textual contents shed light on the city’s literary, social, and political cultures, but also as artifacts whose physical fragmentation invites forms of literary criticism that were unintended by their medieval makers. Such compilations are not simply repositories of data to be used for the reconstruction of the distant past; their physical forms reward literary and aesthetic analysis in their own right. The compilations analyzed reflect the full vibrancy of fourteenth-century London’s literary cultures: the multilingual codices of Edwardian civil servant Andrew Horn and Ricardian poet John Gower, the famous Auchinleck manuscript of texts in Middle English, and Chaucer’s Canterbury Tales. By reading these compilations as both formal shapes and historical occurrences, Bahr uncovers neglected literary histories specific to the time and place of their production. The book offers a less empiricist way of interpreting the relationship between textual and physical form that will be of interest to a wide range of literary critics and manuscript scholars.
The Victorian era was the high point of literary tourism. Writers such as Charles Dickens, George Eliot, and Sir Walter Scott became celebrities, and readers trekked far and wide for a glimpse of the places where their heroes wrote and thought, walked and talked. Even Shakespeare was roped in, as Victorian entrepreneurs transformed quiet Stratford-upon-Avon into a combination shrine and tourist trap.
Stratford continues to lure the tourists today, as do many other sites of literary pilgrimage throughout Britain. And our modern age could have no better guide to such places than Simon Goldhill. In Freud's Couch, Scott’s Buttocks, Brontë's Grave, Goldhill makes a pilgrimage to Sir Walter Scott's baronial mansion, Wordsworth's cottage in the Lake District, the Bront ë parsonage, Shakespeare's birthplace, and Freud's office in Hampstead. Traveling, as much as possible, by methods available to Victorians—and gamely negotiating distractions ranging from broken bicycles to a flock of giggling Japanese schoolgirls—he tries to discern what our forebears were looking for at these sites, as well as what they have to say to the modern mind. What does it matter that Emily Brontë’s hidden passions burned in this specific room? What does it mean, especially now that his fame has faded, that Scott self-consciously built an extravagant castle suitable for Ivanhoe—and star-struck tourists visited it while he was still living there? Or that Freud's meticulous recreation of his Vienna office is now a meticulously preserved museum of itself? Or that Shakespeare’s birthplace features student actors declaiming snippets of his plays . . . in the garden of a house where he almost certainly never wrote a single line?
Goldhill brings to these inquiries his trademark wry humor and a lifetime's engagement with literature. The result is a travel book like no other, a reminder that even today, the writing life still has the power to inspire.
Six remarkable churches built by Nicholas Hawksmoor from 1712 to 1731 still stand in London. In this book, architectural historian Pierre de la Ruffinière du Prey examines these designs as a coherent whole—a single masterpiece reflecting both Hawksmoor's design principles and his desire to reconnect, architecturally, with the "purest days of Christianity."
Traditionally, logic has dealt with notions of truth and reasoning. In the past several decades, however, research focus in logic has shifted to the vast field of interactive logic—the domain of logics for both communication and interaction. The main applications of this move are logical approaches to games and social software; the wealth of these applications was the focus of the seventh Augustus de Morgan Workshop in November 2005. This collection of papers from the workshop serves as the initial volume in the new series Texts in Logics and Games—touching on research in logic, mathematics, computer science, and game theory.
“A wonderful demonstration of contemporary topics in logic.”—Wiebe van der Hoek, University of Liverpool
In the late 1970s, Barbara Taylor, then an acclaimed young historian, began to suffer from severe anxiety. In the years that followed, Taylor’s world contracted around her illness. Eventually, her struggles were severe enough to lead to her admission to what had once been England’s largest psychiatric institution, the infamous Friern Mental Hospital in North London.
The Last Asylum is Taylor’s breathtakingly blunt and brave account of those years. In it, Taylor draws not only on her experience as a historian, but also, more importantly, on her own lived history at Friern— once known as the Colney Hatch Lunatic Asylum and today the site of a luxury apartment complex. Taylor was admitted to Friern in July 1988, not long before England’s asylum system began to undergo dramatic change: in a development that was mirrored in America, the 1990s saw the old asylums shuttered, their patients left to plot courses through a perpetually overcrowded and underfunded system of community care. But Taylor contends that the emptying of the asylums also marked a bigger loss, a loss of community. She credits her own recovery to the help of a steadfast psychoanalyst and a loyal circle of friends— from Magda, Taylor’s manic-depressive roommate, to Fiona, who shares tips for navigating the system and stories of her boyfriend, the “Spaceman,” and his regular journeys to Saturn. The forging of that network of support and trust was crucial to Taylor’s recovery, offering a respite from the “stranded, homeless feelings” she and others found in the outside world.
A vivid picture of mental health treatment at a moment of epochal change, The Last Asylum is also a moving meditation on Taylor’s own experience, as well as that of millions of others who struggle with mental illness.
London: A History in Verse
Mark Ford Harvard University Press, 2012 Library of Congress PR1195.L6L64 2012 | Dewey Decimal 821.0080358421
London has long been understood through the poetry it has inspired. Mark Ford has assembled the most capacious and wide-ranging anthology of poems about London to date, from Chaucer to Wordsworth to the present day, providing a chronological tour of urban life and of English literature. The volume includes an introductory essay by the poet.
London Fashion Week is the pinnacle of the fashion season, and it features an array of native designers, from Burberry and Vivenne Westwood to Alexander McQueen and Nicole Farhi. The roots of London’s place as the international epicenter of haute couture and prêt-à-porter stretch back centuries, and they are explored here by Alistair O’Neill.
Arguing that fashion was central to the impact of modernity in late nineteenth- and twentieth-century London, O’Neill maps the progress of fashion against the city’s neighborhoods and streets. Carnaby Street, Soho, Jermyn Street, and King’s Road each get their turn in London, along with many others, revealing the intersection between London’s urban history and the development of fashion. O’Neill’s analysis is not merely confined to clothing—from the popularity of tattooing in the 1890s to the diverse uses of chintz in the 1980s design aesthetic, he traces the history of fashion in its various manifestations and explores how particular figures were key to disseminating fashion throughout British and international cultures. Participating in fashion, Londonshows, was not only a pleasurable aspect of modern urban life, but also a fundamental element of contemporary cultural sensibilities. London unearths vital moments of revolution in fashion that reflect deeper changes in London’s history and culture, contending that these historic changes are unfairly marginalized in accounts of transformation in the city’s culture.
A fascinating look at style and urbanism, London offers an intriguing reconsideration of the role of fashion in city life and fills in long overlooked gaps in the history of London and modern design.
London Fog: The Biography
Christine L. Corton Harvard University Press, 2015 Library of Congress QC929.F7C57 2015 | Dewey Decimal 551.57509421
The classic London fogs—thick yellow “pea-soupers”—were born in the industrial age and remained a feature of cold, windless winter days until clean air legislation in the 1960s. Christine L. Corton tells the story of these epic London fogs, their dangers and beauty, and the lasting effects on our culture and imagination of these urban spectacles.
London from Punk to Blair is a rich portrait of Europe’s foremost capital. An array of contributors, including poets, journalists, teachers, historians, wanderers, drinkers, photographers, and foodies, offer a selection of personal and subjective readings of the city since the late ’70s. These essays chart a variety of literal and metaphorical explorations through modern and postmodern London, showing how it works, and how it fails to work; what makes it vibrant, and what makes it seedy. From West End galleries to strip pubs in Shoreditch; from millionaires’ loft apartments to buses and suburban Tube stops; from film, fashion, and gay clubs to punk bands, ruinous factories, pigeon filth, and the vagaries of weather, London from Punk to Blair embraces the city like no other book has before. This revised edition includes a new introduction by editor Joe Kerr that brings the book up to date and gives the essays context for the post-recession world.
“Full of insight into the diverse experiences that constitute the recent history of London.”—Architects’ Journal
“This rewarding collection brings into clear focus those dramatic shifts in the fortunes of the metropolis. . . . Beautiful, revealing insights into particular ways of understanding and using the city.”—London Society Journal
2017 Theatre Library Association Freedley Award Finalist
If one went looking for the tipping point in the prelude to the American Revolution, it would not be the destruction of the tea in Boston Harbor, or the blockade of Boston by British warships, or even the gathering of the first Continental Congress; rather, it was the Congress’s decision in late October of 1774 to close the theatres. In this remarkable feat of historical research, Odai Johnson pieces together the surviving fragments of the story of the first professional theatre troupe based in the British North American colonies. In doing so, he tells the story of how colonial elites came to decide they would no longer style themselves British gentlemen, but instead American citizens.
London in a Box chronicles the enterprise of David Douglass, founder and manager of the American Theatre, from the 1750s to the climactic 1770s. The ambitious Scotsman’s business was teaching provincial colonials to dress and behave as genteel British subjects. Through the plays he staged, the scenery and costumes, and the bearing of his actors, he displayed London fashion and London manners. He counted among his patrons the most influential men in America, from British generals and governors to local leaders, including the avid theatre-goers George Washington and Thomas Jefferson. By 1774, Douglass operated a monopoly of theatres in six colonies and the Anglophone Caribbean, from Jamaica to Charleston and northward to New York City. (Boston remained an impregnable redoubt against theatre.)
How he built this network of patrons and theatres and how it all went up in flames as the revolution began is the subject of this witty history. A treat for anyone interested in the world of the American Revolution and an important study for historians of the period.
"The recognition that ordinary people could and did trade in slaves, as well as the fact that ordinary people became slaves, is, indeed, the beginning of comprehending the enormity of the forced migration of eleven million people and the attendant deaths of many more."
In London, Metropolis of the Slave Trade, James A. Rawley collects some of his best works from the past three decades. Also included in this volume are three new pieces: an essay on a South Carolina slave trader, Henry Laurens; an analysis of the slave trade at the beginning of the eighteenth century; and a portrait of John Newton, a slave trader who became a priest in the Church of England and composer of the hymn “Amazing Grace,” as well as an outspoken opponent of the trade.
In these essays Rawley brings together new information on individuals involved in and opposed to the slave trade and shows how scholars have long underestimated the extent of London’s participation in the trade.
Rawley draws on material from the year 1700 to the American Civil War as he explores the role of London in the trade. He covers its activity as a port of departure for ships bound for Africa; its continuing large volume after the trade extended to Bristol and Liverpool; and the controversy between London’s parliamentary representatives, who defended the trade, and the abolitionist movement that was quartered there.
Sweeping in scope and thorough in its analysis, this collection of essays from a seasoned scholar will be welcomed by historians concerned with slavery and the slave trade, as well as by students just beginning their exploration of this subject.
If one had looked for a potential global city in Europe in the 1540s, the most likely candidate would have been Antwerp, which had emerged as the center of the German and Spanish silver exchange as well as the Portuguese spice and Spanish sugar trades. It almost certainly would not have been London, an unassuming hub of the wool and cloth trade with a population of around 75,000, still trying to recover from the onslaught of the Black Plague. But by 1700 London’s population had reached a staggering 575,000—and it had developed its first global corporations, as well as relationships with non-European societies outside the Mediterranean. What happened in the span of a century and half? And how exactly did London transform itself into a global city?
London’s success, Robert K. Batchelor argues, lies not just with the well-documented rise of Atlantic settlements, markets, and economies. Using his discovery of a network of Chinese merchant shipping routes on John Selden’s map of China as his jumping-off point, Batchelor reveals how London also flourished because of its many encounters, engagements, and exchanges with East Asian trading cities. Translation plays a key role in Batchelor’s study—translation not just of books, manuscripts, and maps, but also of meaning and knowledge across cultures—and Batchelor demonstrates how translation helped London understand and adapt to global economic conditions. Looking outward at London’s global negotiations, Batchelor traces the development of its knowledge networks back to a number of foreign sources and credits particular interactions with England’s eventual political and economic autonomy from church and King.
London offers a much-needed non-Eurocentric history of London, first by bringing to light and then by synthesizing the many external factors and pieces of evidence that contributed to its rise as a global city. It will appeal to students and scholars interested in the cultural politics of translation, the relationship between merchants and sovereigns, and the cultural and historical geography of Britain and Asia.
As people crowded into British cities in the nineteenth century, industrial and biological waste byproducts and then epidemic followed. Britons died by the thousands in recurring plagues. Figures like Edwin Chadwick and John Snow pleaded for measures that could save lives and preserve the social fabric.
The solution that prevailed was the novel idea that British towns must build public water supplies, replacing private companies. But the idea was not an obvious or inevitable one. Those who promoted new waterworks argued that they could use water to realize a new kind of British society—a productive social machine, a new moral community, and a modern civilization. They did not merely cite the dangers of epidemic or scarcity. Despite many debates and conflicts, this vision won out—in town after town, from Birmingham to Liverpool to Edinburgh, authorities gained new powers to execute municipal water systems.
But in London local government responded to environmental pressures with a plan intended to help remake the metropolis into a collectivist society. The Conservative national government, in turn, sought to impose a water administration over the region that would achieve its own competing political and social goals. The contestants over London’s water supply matched divergent strategies for administering London’s water with contending visions of modern society. And the matter was never pedestrian. The struggle over these visions was joined by some of the most colorful figures of the late Victorian period, including John Burns, Lord Salisbury, Bernard Shaw, and Sidney and Beatrice Webb.
As Broich demonstrates, the debate over how to supply London with water came to a head when the climate itself forced the endgame near the end of the nineteenth century. At that decisive moment, the Conservative party succeeded in dictating the relationship between water, power, and society in London for many decades to come.
Today’s celebrity charity work has deep historical roots. In the 1880s and 1890s, the stars of fin-de-siècle London’s fashionable stage culture—particularly the women—transformed theatre’s connection with fundraising. They refreshed, remolded, and reenergized celebrity charity work at a time when organized benevolence and women’s public roles were also being transformed. In the process, actresses established a model and set of practices that persist today among the stars of both London’s West End and Hollywood.
In the late nineteenth century, theatre’s fundraising for charitable causes shifted from male-dominated and private to female-directed and public. Although elite women had long been involved in such enterprises, they took on more authority in this period. At the same time, regular, high-profile public charity events became more important and much more visible than private philanthropy. Actresses became key figures in making the growing number of large and heavily publicized fundraisers successful. By 1920, the attitude was “Get an actress first. If you can’t get an actress, then get a duchess.” Actresses’ star power, their ability to orchestrate large events quickly, and their skill at performing a kind of genteel extortion made them essential to this model of charity. Actresses also benefited from this new role. Taking a prominent, public, offstage position was crucial in making them, individually and collectively, respectable professionals.
Author Catherine Hindson reveals this history by examining the major types of charity events at the turn of the twentieth century, including fundraising matinees, charity bazaars and costume parties, theatrical tea and garden parties, and benefit performances. Her study concludes with a look at the involvement of actresses in raising funds for British soldiers serving in the Anglo-Boer War and the First World War.
Today's successful plays and playwrights achieve their prominence not simply because of their intrinsic merit but because of the work of mediators, who influence the whole trajectory of a playwright's or a theatre company's career. Critics and academic writers are primarily considered the makers of reputations, but funding organizations and various media agents as well as artistic directors, producers, and directors also pursue separate agendas in shaping the reputations of theatrical works. In The Making of Theatrical Reputations Yael Zarhy-Levo demonstrates the processes through which these mediatory practices by key authority figures situate theatrical companies and playwrights within cultural and historical memory.
To reveal how these authorizing powers-that-be promote theatrical events, companies, and playwrights, Zarhy-Levo presents four detailed case studies that reflect various angles of the modern London theatre. In the case of the English Stage Company's production of John Osborne's Look Back in Anger, she centers on a specific event. She then focuses on the trajectory of a single company, the Theatre Workshop, particularly through its first decade at the Theatre Royal, Stratford East, London. Next, she explores the career of the dramatist John Arden, especially its first ten years, in part drawing upon an interview with Arden and his wife, actress and playwright Margaretta D'Arcy, before turning to her fourth study: the playwright Harold Pinter's shifting reputation throughout the different phases of his career.
Zarhy-Levo's accounts of these theatrical events, companies, and playwrights through the prism of mediation bring fresh insights to these landmark productions and their creators.
Throughout the nineteenth century, people heard more music in the theatre—accompanying popular dramas such as Frankenstein, Oliver Twist, Uncle Tom’s Cabin, Lady Audley’s Secret, The Corsican Brothers, The Three Musketeers, as well as historical romances by Shakespeare and Schiller—than they did in almost any other area of their lives. But unlike film music, theatrical music has received very little attention from scholars and so it has been largely lost to us. In this groundbreaking study, Michael V. Pisani goes in search of these abandoned sounds.
Mining old manuscripts and newspapers, he finds that starting in the 1790s, theatrical managers in Britain and the United States began to rely on music to play an interpretive role in melodramatic productions. During the nineteenth century, instrumental music—in addition to song—was a common feature in the production of stage plays.
The music played by instrumental ensembles not only enlivened performances but also served other important functions. Many actors and actresses found that accompanimental music helped them sustain the emotional pitch of a monologue or dialogue sequence. Music also helped audiences to identify the motivations of characters. Playwrights used music to hold together the hybrid elements of melodrama, heighten the build toward sensation, and dignify the tragic pathos of villains and other characters. Music also aided manager-directors by providing cues for lighting and other stage effects. Moreover, in a century of seismic social and economic changes, music could provide a moral compass in an uncertain moral universe.
Featuring dozens of musical examples and images of the old theatres, Music for the Melodramatic Theatre charts the progress of the genre from its earliest use in the eighteenth century to the elaborate stage productions of the very early twentieth century.
The late-Victorian discovery of the music hall by English intellectuals marks a crucial moment in the history of popular culture. Music Hall and Modernity demonstrates how such pioneering cultural critics as Arthur Symons and Elizabeth Robins Pennell used the music hall to secure and promote their professional identity as guardians of taste and national welfare. These social arbiters were, at the same time, devotees of the spontaneous culture of “the people.”
In examining fiction from Walter Besant, Hall Caine, and Henry Nevinson, performance criticism from William Archer and Max Beerbohm, and late-Victorian controversies over philanthropy and moral reform, scholar Barry Faulk argues that discourse on music-hall entertainment helped consolidate the identity and tastes of an emergent professional class. Critics and writers legitimized and cleaned up the music hall, at the same time allowing issues of class, respect, and empowerment to be negotiated.
Music Hall and Modernity offers a complex view of the new middle-class, middle-brow, mass culture of late-Victorian London and contributes to a body of scholarship on nineteenth-century urbanism. The book will also interest scholars concerned with the emergence of a professional managerial class and the genealogy of cultural studies.
Examines the political and literary uses of the Trojan legend in the medieval period.
England in the late fourteenth century witnessed a large-scale social revolt, a lingering and seemingly hopeless war with France, and fierce factional conflicts in royal politics and London civic government--struggles in which all parties sought to justify their actions by claiming historical precedent. How the Trojan legend figured in these claims--and in competing assertions of authorial legitimacy, nationhood, and rule in the later Middle Ages--is the complex nexus of history, myth, literature, and identity that Sylvia Federico explores in this ambitious book.
During the late medieval period, many European political and social groups took great pains to associate themselves with the ancient city; the claim on Troy, Federico asserts, was crucial to nationhood and was always a political act. Her book examines the poetry and prose of several late medieval authors, focusing particularly on how Chaucer's use of the Trojan legend helped to set the terms by which the Ricardian and Lancastrian periods were distinguished, and further helped to establish English literary history as a noble precedent in its own right. Federico's book affords remarkable insight into the workings of the medieval historical imagination.
Sylvia Federico has taught at Washington State University and the University of Leeds. She currently lives in Maine.
Quack, conjurer, sex fiend, murderer—Simon Forman has been called all these things, and worse, ever since he was implicated (two years after his death) in the Overbury poisoning scandal that rocked the court of King James. But as Barbara Traister shows in this fascinating book, Forman's own unpublished manuscripts—considered here in their entirety for the first time—paint a quite different picture of the works and days of this notorious astrological physician of London.
Although he received no formal medical education, Forman built a thriving practice. His success rankled the College of Physicians of London, who hounded Forman with fines and jail terms for nearly two decades. In addition to detailing case histories of his medical practice—the first such records known from London—as well as his run-ins with the College, Forman's manuscripts cover a wide variety of other matters, from astrology and alchemy to gardening and the theater. His autobiographical writings are among the earliest English examples of their genre and display an abiding passion for reworking his personal history in the best possible light, even though they show little evidence that Forman ever intended to publish them.
Fantastic as many of Forman's manuscripts are, it is their more mundane aspects that make them such a priceless record of what daily life was like for ordinary inhabitants of Shakespeare's London. Forman's descriptions of the stench of a privy, the paralyzed limbs of a child, a lost bitch dog with a velvet collar all offer tantalizing glimpses of a world that seems at once very far away and intimately familiar. Anyone who wants to reclaim that world will enjoy this book.
From New York to Singapore, from Chicago to London, the trading floors of the world’s financial markets are icons of global capitalism. Images of them are used on the news all the time—traders burying their heads in their hands when the market is down, their arms flailing in a frenzy when fortunes are rising—to convey the current state of the economy. But these marketplaces, and the cultural life that sustains them, are dissolving into the ether of the digital age: powerful financial institutions are shutting down the trading pits, replacing face-to-face exchanges with an electronic network where traders sit, face to screen, finger to mouse, and compete in a global arena made up of digits and charts.
Out of the Pits considers the implications of this sea change for everyone involved, from the traders and brokers to the market as a whole. Caitlin Zaloom takes us down to the floor at the Chicago Board of Trade and into a digital dealing room in the City of London. Drawing on her own firsthand experiences as a clerk and a trader and on her unusual access to these key sites of global finance, she explainshow changes at the world’s leading financial exchanges have transformed economic cultures and the craft of speculation; how people and places are responding to the digital transition; how traders are remaking themselves to compete in the contemporary marketplace; and how brokers, business managers, and software designers are collaborating to build new financial markets.
A penetrating and richly detailed account of how cities, culture, and technology shape everyday life in the new global economy, Out of the Pits will be must reading for business buffs or anyone who has ever wondered how financial markets work.
In May 1853, Charles Dickens paid a visit to the “savages at Hyde Park Corner,” an exhibition of thirteen imported Zulus performing cultural rites ranging from songs and dances to a “witch-hunt” and marriage ceremony. Dickens was not the only Londoner intrigued by these “living curiosities”: displayed foreign peoples provided some of the most popular public entertainments of their day. At first, such shows tended to be small-scale entrepreneurial speculations of just a single person or a small group. By the end of the century, performers were being imported by the hundreds and housed in purpose-built “native” villages for months at a time, delighting the crowds and allowing scientists and journalists the opportunity to reflect on racial difference, foreign policy, slavery, missionary work, and empire.
Peoples on Parade provides the first substantial overview of these human exhibitions in nineteenth-century Britain. Sadiah Qureshi considers these shows in their entirety—their production, promotion, management, and performance—to understand why they proved so commercially successful, how they shaped performers’ lives, how they were interpreted by their audiences, and what kinds of lasting influence they may have had on notions of race and empire. Qureshi supports her analysis with diverse visual materials, including promotional ephemera, travel paintings, theatrical scenery, art prints, and photography, and thus contributes to the wider understanding of the relationship between science and visual culture in the nineteenth century.
Through Qureshi’s vibrant telling and stunning images, readers will see how human exhibitions have left behind a lasting legacy both in the formation of early anthropological inquiry and in the creation of broader public attitudes toward racial difference.
Looking for the first time at the cut-price anatomy schools rather than genteel Oxbridge, Desmond winkles out pre-Darwinian evolutionary ideas in reform-minded and politically charged early nineteenth-century London. In the process, he reveals the underside of London intellectual and social life in the generation before Darwin as it has never been seen before.
"The Politics of Evolution is intellectual dynamite, and certainly one of the most important books in the history of science published during the past decade."—Jim Secord, Times Literary Supplement
"One of those rare books that not only stakes out new territory but demands a radical overhaul of conventional wisdom."—John Hedley Brooke, Times Higher Education Supplement
From 1877 to 1892, Dr. Thomas Neill Cream murdered seven women, all prostitutes or patients seeking abortions, in England and North America. A Prescription for Murder begins with Angus McLaren's vividly detailed story of the killings. Using press reports and police dossiers, McLaren investigates the links between crime and respectability to reveal a remarkable range of Victorian sexual tensions and fears. McLaren explores how the roles of murderer and victim were created, and how similar tensions might contribute to the onslaught of serial killing in today's society.
In August 1934, young Cyril L. wrote to his friend Billy about all the exciting men he had met, the swinging nightclubs he had visited, and the vibrant new life he had forged for himself in the big city. He wrote, "I have only been queer since I came to London about two years ago, before then I knew nothing about it." London, for Cyril, meant boundless opportunities to explore his newfound sexuality. But his freedom was limite: he was soon arrested, simply for being in a club frequented by queer men.
Cyril's story is Matt Houlbrook's point of entry into the queer worlds of early twentieth-century London. Drawing on previously unknown sources, from police reports and newspaper exposés to personal letters, diaries, and the first queer guidebook ever written, Houlbrook here explores the relationship between queer sexualities and modern urban culture that we take for granted today. He revisits the diverse queer lives that took hold in London's parks and streets; its restaurants, pubs, and dancehalls; and its Turkish bathhouses and hotels—as well as attempts by municipal authorities to control and crack down on those worlds. He also describes how London shaped the culture and politics of queer life—and how London was in turn shaped by the lives of queer men. Ultimately, Houlbrook unveils the complex ways in which men made sense of their desires and who they were. In so doing, he mounts a sustained challenge to conventional understandings of the city as a place of sexual liberation and a unified queer culture.
A history remarkable in its complexity yet intimate in its portraiture, Queer London is a landmark work that redefines queer urban life in England and beyond.
“A ground-breaking work. While middle-class lives and writing have tended to compel the attention of most historians of homosexuality, Matt Houlbrook has looked more widely and found a rich seam of new evidence. It has allowed him to construct a complex, compelling account of interwar sexualities and to map a new, intimate geography of London.”—Matt Cook, The Times Higher Education Supplement
Winner of History Today’s Book of the Year Award, 2006
In 1593 the brilliant but controversial young playwright Christopher Marlowe was stabbed to death in a Deptford lodging house. The circumstances were shady, the official account—a violent quarrel over the bill, or "recknynge"—has been long regarded as dubious.
Here, in a tour de force of scholarship and ingenuity, Charles Nicholl penetrates four centuries of obscurity to reveal not only a complex and unsettling story of entrapment and betrayal, chimerical plot and sordid felonies, but also a fascinating vision of the underside of the Elizabethan world.
"Provides the sheer enjoyment of fiction, and might just be true."—Michael Kenney, Boston Globe
"Mr. Nicholl's glittering reconstruction of Marlowe's murder is only one of the many fascinating aspects of this book. Indeed, The Reckoning is equally compelling for its masterly evocation of a vanished world, a world of Elizabethan scholars, poets, con men, alchemists and spies, a world of Machiavellian malice, intrigue and dissent."—Michiko Kakutani, New York Times
"The rich substance of the book is his detail, the thick texture of betrayal and evasion which was Marlowe's life."—Thomas Flanagan, Washington Post Book World
Winner of the Crime Writer's Gold Dagger Award for Nonfiction Thriller
This innovative work begins to fill a large gap in theatre studies: the lack of any comprehensive study of nineteenth-century British theatre audiences. In an attempt to bring some order to the enormous amount of available primary material, Jim Davis and Victor Emeljanow focus on London from 1840, immediately prior to the deregulation of that city's theatres, to 1880, when the Metropolitan Board of Works assumed responsibility for their licensing. In a further attempt to manage their material, they concentrate chapter by chapter on seven representative theatres from four areas: the Surrey Theatre and the Royal Victoria to the south, the Whitechapel Pavilion and the Britannia Theatre to the east, Sadler's Wells and the Queen's (later the Prince of Wales's) to the north, and Drury Lane to the west.
Davis and Emeljanow thoroughly examine the composition of these theatres' audiences, their behavior, and their attendance patterns by looking at topography, social demography, police reports, playbills, autobiographies and diaries, newspaper accounts, economic and social factors as seen in census returns, maps and transportation data, and the managerial policies of each theatre.
Renaissance Revivals examines patterns in the London revivals of two English Renaissance theatre genres over the past four centuries. Griswold's focus on revenge tragedies and city comedies illuminates the ongoing interaction between society and its cultural products. No cultural object is ever created anew, she argues, but is instead constructed from existing cultural genres and conventions, the visions and professional needs of the artist, and the interests of an audience. Thus, every "new play" is in part a renaissance and every "revival" is in part an entirely new cultural object.
In nineteenth-century London, a clubbable man was a fortunate man, indeed. The Reform, the Athenaeum, the Travellers, the Carlton, the United Service are just a few of the gentlemen’s clubs that formed the exclusive preserve known as “clubland” in Victorian London—the City of Clubs that arose during the Golden Age of Clubs. Why were these associations for men only such a powerful emergent institution in nineteenth-century London? Distinctly British, how did these single-sex clubs help fashion men, foster a culture of manliness, and assist in the project of nation building? What can elite male affiliative culture tell us about nineteenth-century Britishness?
A Room of His Own sheds light on the mysterious ways of male associational culture as it examines such topics as fraternity, sophistication, nostalgia, social capital, celebrity, gossip, and male professionalism. The story of clubland (and the literature it generated) begins with Britain’s military heroes home from the Napoleonic campaign and quickly turns to Dickens’s and Thackeray’s acrimonious Garrick Club Affair. It takes us to Richard Burton’s curious Cannibal Club and Winston Churchill’s The Other Club; it goes underground to consider Uranian desire and Oscar Wilde’s clubbing and resurfaces to examine the problematics of belonging in Trollope’s novels. The trespass of French socialist Flora Tristan, who cross-dressed her way into the clubs of Pall Mall, provides a brief interlude. London’s clubland—this all-important room of his own—comes to life as Barbara Black explores the literary representations of clubland and the important social and cultural work that this urban site enacts. Our present-day culture of connectivity owes much to nineteenth-century sociability and Victorian networks; clubland reveals to us our own enduring desire to belong, to construct imagined communities, and to affiliate with like-minded comrades.
A revolution in gender relations occurred in London around 1700, resulting in a sexual system that endured in many aspects until the sexual revolution of the 1960s. For the first time in European history, there emerged three genders: men, women, and a third gender of adult effeminate sodomites, or homosexuals. This third gender had radical consequences for the sexual lives of most men and women since it promoted an opposing ideal of exclusive heterosexuality.
In Sex and the Gender Revolution, Randolph Trumbach reconstructs the worlds of eighteenth-century prostitution, illegitimacy, sexual violence, and adultery. In those worlds the majority of men became heterosexuals by avoiding sodomy and sodomite behavior.
As men defined themselves more and more as heterosexuals, women generally experienced the new male heterosexuality as its victims. But women—as prostitutes, seduced servants, remarrying widows, and adulterous wives— also pursued passion. The seamy sexual underworld of extramarital behavior was central not only to the sexual lives of men and women, but to the very existence of marriage, the family, domesticity, and romantic love. London emerges as not only a geographical site but as an actor in its own right, mapping out domains where patriarchy, heterosexuality, domesticity, and female resistance take vivid form in our imaginations and senses.
As comprehensive and authoritative as it is eloquent and provocative, this book will become an indispensable study for social and cultural historians and delightful reading for anyone interested in taking a close look at sex and gender in eighteenth-century London.
How do we recapture, or hold on to, the live performances we most love, and the talented artists and performers we most revere? Shakespeare and the Legacy of Loss tells the story of how 18th-century actors, novelists, and artists, key among them David Garrick, struggled with these questions through their reenactments of Shakespearean plays. For these artists, the resurgence of Shakespeare, a playwright whose works just decades earlier had nearly been erased, represented their own chance for eternal life. Despite the ephemeral nature of performance, Garrick and company would find a way to make Shakespeare, and through him the actor, rise again.
In chapters featuring Othello, Richard III, Hamlet, The Winter’s Tale, and The Merchant of Venice, Emily Hodgson Anderson illuminates how Garrick’s performances of Shakespeare came to offer his contemporaries an alternative and even an antidote to the commemoration associated with the monument, the portrait, and the printed text. The first account to read 18th-century visual and textual references to Shakespeare alongside the performance history of his plays, this innovative study sheds new light on how we experience performance, and why we gravitate toward an art, and artists, we know will disappear.
In New York and London during World War I, the performance of lieder—German art songs—was roundly prohibited, representing as they did the music and language of the enemy. But as German musicians returned to the transatlantic circuit in the 1920s, so too did the songs of Franz Schubert, Hugo Wolf, and Richard Strauss. Lieder were encountered in a variety of venues and media—at luxury hotels and on ocean liners, in vaudeville productions and at Carnegie Hall, and on gramophone recordings, radio broadcasts, and films.
Laura Tunbridge explores the renewed vitality of this refugee musical form between the world wars, offering a fresh perspective on a period that was pervaded by anxieties of displacement. Through richly varied case studies, Singing in the Age of Anxiety traces how lieder were circulated, presented, and consumed in metropolitan contexts, shedding new light on how music facilitated unlikely crossings of nationalist and internationalist ideologies during the interwar period.
What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways.
Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney’s ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.
Throughout the past thirty years a small number of city-regions have achieved unprecedented global status in the world economy while undergoing radical changes. Struggling Giants examines the transformation of four of the most significant metropolises: London, New York, Paris, and Tokyo. This volume analyzes the thorniest issues these sprawling city-regions have faced, including ameliorating social problems through public policies, the effect of globalization on local governance, and the relationships between local, regional, and national institutions.
Three critical themes frame Struggling Giants. The first is the continuing struggle for governability in the midst of regional governmental fragmentation. The second theme is how the city-regions fight to manage powerful political biases. Policy-making is often selective, the authors find, and governments are more responsive to economic exigencies than to social or environmental needs. Finally, these city-regions are shown to be strong economic leaders in part because they are able to change—although the authors reveal that pragmatism and piecemeal policy solutions can still prevail.
Taking to heart Thomas Heywood’s claim that plays “persuade men to humanity and good life, instruct them in civility and good manners, showing them the fruits of honesty, and the end of villainy,” Mark Bayer’s captivating new study argues that the early modern London theatre was an important community institution whose influence extended far beyond its economic, religious, educational, and entertainment contributions. Bayer concentrates not on the theatres where Shakespeare’s plays were performed but on two important amphitheatres, the Fortune and the Red Bull, that offer a more nuanced picture of the Jacobean playgoing industry. By looking at these playhouses, the plays they staged, their audiences, and the communities they served, he explores the local dimensions of playgoing.
Focusing primarily on plays and theatres from 1599 to 1625, Bayer suggests that playhouses became intimately engaged with those living and working in their surrounding neighborhoods. They contributed to local commerce and charitable endeavors, offered a convivial gathering place where current social and political issues were sifted, and helped to define and articulate the shared values of their audiences. Bayer uses the concept of social capital, inherent in the connections formed among individuals in various communities, to construct a sociology of the theatre from below—from the particular communities it served—rather than from the broader perspectives imposed from above by church and state. By transacting social capital, whether progressive or hostile, the large public amphitheatres created new and unique groups that, over the course of millions of visits to the playhouses in the Jacobean era, contributed to a broad range of social practices integral to the daily lives of playgoers.
In lively and convincing prose that illuminates the significant reciprocal relationships between different playhouses and their playgoers, Bayer shows that theatres could inform and benefit London society and the communities geographically closest to them.
The Research Laboratories of the GEC were conceived in 1916, started work in 1919 and moved to their well-known buildings in Wembley in 1922.
This book deals with their activities from the beginnings until the end of 1984. The opening chapter describes their origins, organisation and philosophy, describing particularly the pattern set by Sir Clifford Paterson, the first Director, much of which was to continue after his death in 1948. The second chapter summarises the work of the Laboratories, decade by decade, while subsequent chapters are a series of essays covering particular subjects such as lamps and lighting, valves, communications and semiconductors. The diverse number of projects undertaken in the 1939-45 war are described, and other chapters deal with the substantial work on solid state physics in the 1950s and 1960s, the work on optical fibres and optical communications in the 1970s and 1980s, the many aspects of work on technology and engineering, and the vital supporting role of the work on materials characterisation. The final chapters deal with patents, publications and some statistics on the Laboratories.
Mark Ford Harvard University Press, 2016 Library of Congress PR4753.F67 2016 | Dewey Decimal 823.8
Because Thomas Hardy’s poetry and fiction are so closely associated with Wessex, it is easy to forget that he was, in his own words, half a Londoner, moving between country and capital throughout his life. This self-division, Mark Ford says, can be traced not only in works explicitly set in London but in his most regionally circumscribed novels.
In late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral.
Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England.
The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.
Robert R. Bataille demonstrates convincingly that between 1767 and 1777, Anglo-Irish writer Hugh Kelly made major contributions in three areas of British culture: politics, journalism, and theater. Bataille shows how all three activities were integrated in Kelly’s life, suggesting that such interrelationships often existed in the rough and ready London culture during the early reign of King George III.
When he discovered several newspaper campaigns that Kelly orchestrated as a paid political propagandist for George III and his ministers, Bataille understood in part how important Kelly was to his era. In his capacity as propagandist, Kelly defended Hanoverian colonial policies on the eve of the American Revolution, served as a key opponent of the radical Wilkites, and promoted the acceptance of the 1774 Quebec Bill, which established, among other things, the right of the recently defeated French citizens of Quebec to maintain the French language.
A belletristic journalist, Kelly published theater reviews and essays that played a major role in shaping the taste of his era. He wrote in defense of the controversial sentimental drama, and whenever he could, he promoted the major theatrical figure of the age, David Garrick. Under his editorship, the newspaper Public Ledger became a leading source of theater information. Seeking to raise the status of the profession of journalism, he wrote essays and articles that provided his middle-class readers with an insider’s view of the operations of the journalist.
Assessing Kelly’s contributions to the novel and drama, Bataille argues that this powerful journalist stands in the vanguard in the larger struggle against traditional attitudes supporting male superiority and aristocratic privilege. Kelly wrote in favor of gender equality and middle-class respectability, striving to inculcate what modern scholars refer to as the values of sensibility. Bataille also argues, however, that Kelly knew his audience. Instrumental in the rise of professional writing and popular culture, he understood that he had to observe the needs of his audience, detecting cultural trends and using the skills of the rhetorician.
In 1864, amid headline-grabbing heresy trials, members of the British Association for the Advancement of Science were asked to sign a declaration affirming that science and scripture were in agreement. Many criticized the new test of orthodoxy; nine decided that collaborative action was required. The X Club tells their story.
These six ambitious professionals and three wealthy amateurs—J. D. Hooker, T. H. Huxley, John Tyndall, John Lubbock, William Spottiswoode, Edward Frankland, George Busk, T. A. Hirst, and Herbert Spencer—wanted to guide the development of science and public opinion on issues where science impinged on daily life, religious belief, and politics. They formed a private dining club, which they named the X Club, to discuss and further their plans. As Ruth Barton shows, they had a clear objective: they wanted to promote “scientific habits of mind,” which they sought to do through lectures, journalism, and science education. They devoted enormous effort to the expansion of science education, with real, but mixed, success.
For twenty years, the X Club was the most powerful network in Victorian science—the men succeeded each other in the presidency of the Royal Society for a dozen years. Barton’s group biography traces the roots of their success and the lasting effects of their championing of science against those who attempted to limit or control it, along the way shedding light on the social organization of science, the interactions of science and the state, and the places of science and scientific men in elite culture in the Victorian era.