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Charles Upchurch

There is something of a paradox in the discussion of sex between men in Britain in the nineteenth century. For generations it was thought to have been unspeakable and unspoken-about in this period, and the discussion of it is almost entirely absent from nineteenth-century diaries, novels, parliamentary papers and other sources. Yet for most of the nineteenth century, sex between men was regularly discussed in the mainstream newspapers, primarily through articles about court cases ranging in length from one paragraph to multiple columns of text. These

in British queer history
A Postcolonial Geography
Author: Richard Philips

The operation of the British model of imperialism was never consistent, seldom coherent, and far from comprehensive. Purity campaigns, controversies about the age of consent, the regulation of prostitution and passage and repeal of contagious diseases laws, as well as a new legislative awareness of homosexuality, were all part of the sexual currency of the late Victorian age. Colonial governments, institutions and companies recognised that in many ways the effective operation of the Empire depended upon sexual arrangements. They devised elaborate systems of sexual governance, but also devoted disproportionate energy to marking and policing the sexual margins. This book not only investigates controversies surrounding prostitution, homosexuality and the age of consent in the British Empire, but also revolutionises people's notions about the importance of sex as a nexus of imperial power relations. The derivative hypothesis, which reads colonial sexuality politics as something England did or gave to its colonies, is illustrated and made explicit by the Indian Spectator, which seemed simply to accept that India should follow English precedent. In 1885, the South Australian parliament passed legislation, similar to England's Criminal Law Amendment Act, which raised the age of consent from 13 to 16 and introduced a series of restrictions and regulations on sexual conduct. Richard Francis Burton's case against the moral universalism and sex between men are discussed. 'Cognitively mapping' sexuality politics, the book has traced connections between people, places and politics, exploring both their dangers and opportunities, which revolve in each case around embroilments in global power.

Richard Burton’s interventions on sex between men
Richard Philips

to bury them with the barest of mentions, leaving them as a hidden subtext, an obvious and suggestive silence. A link might be made between this awkward silence in the ‘Maiden Tribute’ and new prohibitions against sex between male persons, which were included in the Criminal Law Amendment Act (1885). 15 Arguably Stead had helped place sex between men on the political agenda, if out of the reach of open debate. And there it remained. Those who spoke out against the new law tended to do so indirectly. The amendment had passed

in Sex, politics and empire
Ronald Hyam

convicts, while a quarter of them were free immigrants, with roughly another quarter freed ex-convicts and the rest native-born Australians. 44 Notoriously few sex offences of any kind came to court in early Australia, least of all the sodomy ones. All historians are agreed, however, that sex between men flourished in the convict settlements, even if it did not leave much definite evidence. 45 Indeed, one

in Empire and sexuality
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Fields of understanding and political action
Richard Philips

government to seriously consider changing the age. 10 By contrast, Victorian legislation on sex between men has gradually given way, since the 1960s, to something more tolerant. In England, the provisions of the Labouchere Amendment remained in place for over 80 years, until 1967 when sex between men was partially decriminalised, subject to a higher age of consent (21) than applied to heterosexual sex (16); it took another 34 years and 2 major interventions through the European Court of Human Rights for the homosexual and heterosexual

in Sex, politics and empire
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British queer history
Brian Lewis

foreseeable future in this, one of the richest seams of recent modern British historiography. Charles Upchurch begins the collection with a topic of concern to all the authors: the effective interrogation of archival sources in pursuit of British queer history. In previous studies of the nature and frequency of the discussion of sex between men in leading London newspapers between 1820 and 1870, Upchurch highlighted the pros and cons of full-text electronic searches of books, periodicals and government documents. 18 Although such searches allowed historians to

in British queer history
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

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Emma Vickers

Wildeblood and Pitt-­Rivers faced eighteen months. Montagu’s dignified pleas for leniency and the subsequent pressure applied by the Church of England and the Hardwicke Society helped to persuade Maxwell-­Fyfe that a committee should be established to discuss whether a change in the law was needed. The Church of England was particularly active in calling for change. In 1954 its Moral Welfare Council published The Problem of Homosexuality: An Interim Report which argued that although sex between men was a sin, so were adultery and fornication, yet these activities were not

in Queen and country
Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

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Tommy Dickinson

century.122 In 1898, with virtually no debate, Parliament passed an amendment to the 1824 Vagrancy Act. The main impetus of the 1898 amendment was to expand the state’s capacity to imprison bullies or pimps who lived on the earnings of female prostitution; however, it soon also became the Victorian state’s draconian regulation of all forms of sex between men.123 According to the Act, ‘every male person who in any public place persistently solicits or importunes for immoral purposes shall be deemed a rogue and a vagabond and may be dealt with accordingly’.124 Seth Koven

in ‘Curing queers’