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Anu Koivunen, Katariina Kyrölä, and Ingrid Ryberg

 1 1 VULNERABILITY AS A POLITICAL LANGUAGE A nu Koi v une n, K atar iina K yröl ä a nd I ngr id  Ry berg I n present-​ day public discussions, questions of power, agency, and the media are debated more intensely than ever as issues of injury or empowerment. Vulnerability has emerged as a key concept circulating in these discussions and their academic analyses. The #MeToo campaign, as well as its extensions like #TimesUp and versions in various languages across the globe, has been taken up as a key example of these tendencies, showing how the public

in The power of vulnerability
Crossing boundaries and negotiating the cultural landscape
Author: Janice Norwood

Victorian touring actresses: Crossing boundaries and negotiating the cultural landscape provides a new perspective on the on- and offstage lives of women working in nineteenth-century theatre, and affirms the central role of touring, both within the United Kingdom and in North America and Australasia. Drawing on extensive archival research, it features a cross-section of neglected performers whose dramatic specialisms range from tragedy to burlesque. Although they were employed as stars in their own time, their contribution to the industry has largely been forgotten. The book’s innovative organisation follows a natural lifecycle, enabling a detailed examination of the practical challenges and opportunities typically encountered by the actress at each stage of her working life. Individual experiences are scrutinised to highlight the career implications of strategies adopted to cope with the demands of the profession, the physical potential of the actress’s body, and the operation of gendered power on and offstage. Analysis is situated in a wide contextual framework and reveals how reception and success depended on the performer’s response to the changing political, economic, social and cultural landscape as well as to developments in professional practice and organisation. The book concludes with discussion of the legacies of the performers, linking their experiences to the present-day situation.

Janice Norwood

press coverage, both in terms of shaken confidence and reduced chances of job offers. Nevertheless, many actresses were glad of any opportunity to practise their chosen profession. The nature of trying to break into a competitive market had other implications for women. In the light of the Weinstein scandal and the #MeToo campaign in the twenty-first century we cannot ignore the likelihood that many actresses were similarly subjected to versions of the casting couch in the nineteenth.79 After outlining multiple instances of unwanted molestation, Davis argues: ‘Sexual

in Victorian touring actresses
Republicanism,exclusion, and the name of king in Nathaniel Lee’s Lucius Junius Brutus
Lisanna Calvi

kin. In order to achieve his purposes, he is ready to lie and to feign mercy only to withdraw it the very next moment: Titus.  … O all the extremity Of cruel rigor, to behold me too, To sit unmoved and see me whipped to death? Where are your bowels now? Is this a father? Ah, sir, why should you make my heart suspect That all your late compassion was dissembled? (IV.541–​46) 322 323 ‘The Name of King will light upon a Tarquin’ In spite of Titus’s pathetic plea, Brutus –​‘father of the country’, as the subtitle of the play styles him, but not a father to his sons

in From Republic to Restoration
Katariina Kyrölä

warnings, while the scene about sexual abuse was not. Many reviews of the film even discussed the lengthy scene as one of seduction, not abuse. The students broadly agreed that the film was very discomforting to watch overall, but that was precisely how it should be, given its topic of sexual abuse and gendered sexual agency. Today, in the post-​#MeToo world, I would very likely make the choice to give a content warning about the whole film, not only the explicit rape scene, and the possibility for an alternative assignment. However, this example testifies to how the

in The power of vulnerability
Open Access (free)
Beowulf translations by Seamus Heaney and Thomas Meyer
David Hadbawnik

what it is for. This is especially true in the ‘#MeToo’ moment; we should not forget that there is a complex set of relationships at work between translator and source text, translator and reader, and so on. Leo Bersani describes the ‘impersonal intimacy of the psychoanalytic dialogue, the intimate talk without sex’, in which the analyst and analysand ‘have to endure the sexual – its conflicts, frustrations, jealousy, the drama of misaimed desire endemic to the sexual relation’, in order to ‘emerge on the other side of the sexual’. 8

in Dating Beowulf
Abstract only
The Art of Confession
Melissa Febos

some ability to trust, has undone the binds of shame. She is ready to step back into public view. Often, this stage of recovery includes the realization that the survivor, as Judith Herman writes, “can transform the meaning of their personal tragedy by making it the basis for social action.” The survivor shares her experience publicly by becoming a lecturer or spokesperson, an activist, a person who tells the story of her assault on social media followed by the hashtag #MeToo. “Survivors undertake to

in Body Work
Versions of the author in contemporary biopics
Kinga Földváry

one of the keys to the film’s success. As Andrew Higson explains the process: ‘The cranking up of the romantic comedy in Shakespeare in Love … enabled the film-makers to re-energize the genre, to create something that would appeal to a wider audience.’ 17 He sees this mostly a result of catering for the demands of ‘a highly educated and culturally discerning middle-class audience and for a mainstream romantic comedy audience’ at the same time. 18 Looking back at the film’s release from our post-#MeToo vantage point, it is also interesting to see several

in Cowboy Hamlets and zombie Romeos
Abstract only
A counterfactual ghost story
Damian Walford Davies

indeed it was ever written? Surely the biographer is herself in danger of being tangled in a cobweb of conceit, in both senses of that word. And there she must remain, a cautionary example of the perils of counterfactual Romanticism, or at least this version of it. But let me offer one last word (and ventriloquial performance) of wilful wish-fulfilment in this age of #MeToo, reflecting (on) the frustrations of the female biographer as yet another handmaid to yet another Romantic ego. Channelling one final, tiny, tantalising fact – the parish notice of the marriage of a

in Counterfactual Romanticism