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Jeffrey Richards

Comedy was consistently the most popular genre of radio programme. In a 1946 US survey, 59% of respondents listed comedy as their favourite form of programme. 1 This is perhaps not surprising, given the background first of economic depression and later world war. People wanted to be cheered up. But radio imposed certain restrictions on comedy. Visual comedy such as slapstick was impossible. Comedy needed to be predominantly verbal and radio was the home of

in Cinema and radio in Britain and America, 1920–60
Louise Hill Curth

Chapter 2 - The genre of almanacs An Almanack be both small of Price and Volume, and yearly transmitted to the most remote parts of every Nation; and what I design of this kind shall be both short and plain, fitted to the meanest understanding and only treat of one particular Subject in one year and therefore will be the more easily often read and borne in remembrance (then larger Volumes, which at once treat a variety of Subjects).1 T he subject that John Whalley refers to in his almanac of 1699 is what modern readers would call astrology, referring to the

in English almanacs, astrology and popular medicine: 1550–1700
Mark Hobart
Bulletin of the John Rylands Library
Jeffrey Richards

plays: ‘I had a voice the microphone loved’ he recalled. All the serials over thirty years were produced by Martyn C. Webster (1903–83). He became a master of the genre of radio thriller, producing in addition to Paul Temple, the Appointment with Fear series, the Philip Odell serials and some of the Sherlock Holmes plays with Carleton Hobbs and Norman Shelley. Enyd Williams recalled him as ‘an enchanting human being. He was quite a small, dapper man and he had

in Cinema and radio in Britain and America, 1920–60
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Victoria Joule

In this article I demonstrate the significance of a flexible approach to examining the autobiographical in early eighteenth-century womens writing. Using ‘old stories’, existing and developing narrative and literary forms, womens autobiographical writing can be discovered in places other than the more recognizable forms such as diaries and memoirs. Jane Barker and Delarivier Manley‘s works are important examples of the dynamic and creative use of cross-genre autobiographical writing. The integration of themselves in their fictional and poetic works demonstrates the potential of generic fluidity for innovative ways to express and explore the self in textual forms.

Bulletin of the John Rylands Library
Chris Perkins and Martin Dodge

Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. This paper assesses the contribution of visual elements in this,process with a detailed case study of the maps, statistical charts, architectural drawings and photographs enrolled into the 1945 City of Manchester Plan. The cultural production of these visual representations is evaluated. Our analysis interprets the form, symbology and active work of different imagery in the process of reimagining Manchester, but also assesses the role of these images as markers of a particular moment in the cultural economy of the city. This analysis is carried out in relation to the ethos of the Plan as a whole.

Bulletin of the John Rylands Library
Debra Higgs Strickland

Hartmann Schedel’s Liber Chronicarum (1493), better known as the Nuremberg Chronicle, pictures and describes world civilisations and illustrious individuals from Creation to 1493. Although its sources and circumstances of production have been extensively explored, the cultural significance of its many woodcut images has received far less attention. This preliminary study highlights relationships between images, audience and the humanist agenda of Schedel and his milieu by examining selected representations of cultural outsiders with reference to external illustrated genres that demonstrated the centrality of Others in German Christian culture. I argue that the Chronicle’s images of ‘foreign bodies’ harnessed their audience’s established fascination with monsters, wonders, witchcraft, Jews and the Ottoman Turks to advance the German humanist goal of elevating the position of Germania on the world historical stage and in so doing, contributed to the emerging idea of a German national identity.

Bulletin of the John Rylands Library
Artists’ Printed Portraits and Manuscript Biographies in Rylands English MS 60
Edward Wouk

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.

Bulletin of the John Rylands Library