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Unconventionality and queerness in Katherine Everett’s life writing
Mo Moultonc

Katherine Everett's 1949 memoir, Bricks and Flowers, narrates a remarkable life. Born into the Anglo-Irish gentry in the 1870s, Everett escaped an abusive mother by moving to Britain as a teenager. This chapter provides a key to understanding a life like Everett's, which seems simultaneously to invite and to resist a queer reading. It argues that it is possible to arrive at a richer understanding of life outside the conventions of heteronormativity and, perhaps, of homonormativity as well. The chapter describes queer critical history in Everett's life-writing, of the strange-to-us category of unconventionality. Homosexuality, or the possibility of it, appears only in muted and intermittent ways in Bricks and Flowers. For Everett, however, the war put a temporary break in her unconventional career as a builder and pushed her towards more typical means of earning a living for a woman: nursing and working as a personal companion.

in British queer history
Charles Upchurch

There is something of a paradox in the discussion of sex between men in Britain in the nineteenth century. The John Grossett Muirhead and Richard Archdall prosecutions are the two most prominent trials related to sex between men in the 1820s. The association between Frederick Withers and Archdall had begun in July of that year when Archdall 'had requested a servant fitting Withers's description' from the National Guardian Institution. The Vere Street incident initially led to The Times paying increased attention to a wide range of prosecutions involving sex between men. The denial of homosexual blackmail as the reason for Viscount Castlereagh's suicide has most often been coupled with a dismissal of the idea that Castlereagh had homosexual desires. For radicals, Castlereagh was one of the most hated political figures of the day owing to his longstanding opposition to parliamentary reform.

in British queer history
Henry Scott Tuke
Jongwoo Jeremy Kim

Henry Scott Tuke's career as an artist was deeply committed to the visual proliferation of youths, clad or unclad. The homoeroticism of Henry Scott Tuke's naturalism can be understood as part of his effort to contemporise what was considered to be a lost Hellenic tradition of 'man-manly love'. Paintings of fishermen and other workers were central to Tuke's efforts to bring Greek homoeroticism to his modern time. Tuke's yearning injects a subtle form of homoerotic fantasy into what is apparently a dramatic narrative of working-class men in a storm. Violating the picture plane, Tuke challenges the boundary of the pictorial illusion separated from the viewer's reality. Tuke's naturalistic portrayal of Cornish working-class lads and their lives, with its 'sexless' 'view of labour', is animated by this complex homoerotic desire.

in British queer history
Author: Zoë Thomas

Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.

Anna Green and Kathleen Troup

others, in his introduction to British Queer History. 16 Poststructuralists argue that language, as well as representing the world, is creative of it. Language and texts, as collections of signs, are thus reconceived as a social and political force, for which entity the term language is insufficient. ‘Language’ in its multiple meanings has therefore been replaced in poststructuralist parlance by ‘discourse’, ‘a linguistic unity or group of statements which constitutes and delimits a specific area of concern, governed by its own rules of formation with its own modes

in The houses of history
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Rustam Alexander

Vasquez Garcia, ‘Los Invisibles’: A History of Homosexuality in Spain, 1850–1939 (Cardiff: University of Wales Press, 2007); Brian Lewis, ed., British Queer History: New Approaches and Perspectives (Manchester and New York: Manchester University Press, 2013); Jeffrey Meek, Queer Voices in Post-War Scotland: Male Homosexuality, Religion and Society (Basingstoke and New York: Palgrave Macmillan, 2015). 29 The existing historical and sociological scholarship on Russian homosexuality is largely confined to the post-Soviet period. See for example: Brian James Baer

in Regulating homosexuality in Soviet Russia, 1956–91
Zoë Thomas

: Unconventionality and Queerness in Katherine Everett’s Life Writing’, in British Queer History: New Approaches and Perspectives (ed.) Brian Lewis (Manchester: Manchester University Press, 2013), pp. 63–86 (p. 77). Samuel Shaw, ‘“The New Ideal Shop”: Founding the Carfax Gallery, c. 1898–1902’, British Art Journal, 13/2 (2012), pp. 35–43. ‘Interview’, Women’s Penny Paper, p. 145. Tooley, ‘A Lady Goldsmith’, p. 289. Montizambert, London Discoveries, p. 51. Tooley, ‘A Lady Goldsmith’, p. 289. E. C. Woodward, ‘Jewellery and Metal Work’, in Mrs Strang’s Annual for Girls (Oxford: Oxford

in Women art workers and the Arts and Crafts movement
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Tommy Dickinson

Crompton, Byron and Greek Love: Homophobia in Nineteenth-Century England (Berkeley, 1985), pp. 158–171. 88 Cocks, Nameless Offences, pp. 7–8. 89 Kaplan, Sodom and the Thames, p. 24. Charles Upchurch argues, however, that the reporting of sex between men was used to check state power and abuses of class privilege during the 1820s, which ultimately led to publicity winning over silence: Charles Uphurch, ‘Politics and the Reporting of Sex Between Men in the 1820s’, in Brian Lewis (ed.), British Queer History: New Approaches and Perspectives (Manchester, 2013), pp. 17

in ‘Curing queers’