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British masculinities, pomophobia, and the post-nation
Berthold Schoene

5 The Union and Jack: British masculinities, pomophobia, and the post-nation BERTHOLD SCHOENE Starting with a general theoretical investigation into nationalist imageries of masculine and feminine embodiment, this essay offers a tentative outline of some of the most problematic shifts in the conceptualisation and literary representation of man, self and nation in Britain throughout the twentieth century. The second part of the essay comprises a close reading of John Osborne’s Look Back in Anger (1993 [1956]), which is to illustrate the syndromic inextricability

in Across the margins
Open Access (free)
The cinematic afterlife of an early modern political diva
Elisabeth Bronfen and Barbara Straumann

against the politician, the mediality of her material embodiment also comes to be foregrounded. Moreover, these screen re-enactments thematically address the conflict between private person and public persona particular to female sovereignty because the Queen is both stateswoman and potential wife and mother (or virgin in the case of Elizabeth I). This raises the question of how each of the four film

in The British monarchy on screen
Open Access (free)
The Admirable Crichton and Look Back in Anger
Stephen Lacey

this kind of cinematic realism that is important to this argument. Opening out the narrative has the effect of diffusing the claustrophobia of the play. Look Back in Anger sits easily within the dominant conventions of the European naturalist tradition, its single playing space (albeit a lower-class bed-sit rather than a bourgeois drawing-room) functioning as an embodiment of the forces of

in British cinema of the 1950s
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Quentin Crisp as Orlando’s Elizabeth I
Glyn Davis

In 1992, Quentin Crisp appeared on cinema screens as Elizabeth I in Sally Potter's Orlando; the following year, he provided the 'Alternative Queen's Message' on Channel 4 television on Christmas Day, going head-to-head with Elizabeth II. This chapter will revisit this cultural moment, examining the significance of Crisp's perfonnances of 'queenliness'. The late 1980s/early 1990s heralded a shift away from the lesbian and gay politics of the 1970s and '80s towards a more confrontational queer activism. Orlando can be seen as an example of early queer cinema, given its play with gender and sexuality, and Potter's casting of Tilda Swinton (a regular collaborator of Derek Jannan). Other queer films of the time also unsettle and complicate particular moments in history, and equally employ a pointedly artificial mise-en-scene (Jannan's Edward II, Julien's Looking for Langston, Kalin's Swoon). How does Crisp's appearance - as an embodiment of the flaming, camp homosexual - complicate the film's politics of sexuality? Does it articulate a political ' clearing of the ground', with an older gay culture (Elizabeth) giving way to a fresh queer one (Orlando)? This chapter will consider the film as a provocative transition between particular forms of cultural production - bound up with changing attitudes towards the monarchy itself.

in The British monarchy on screen
Open Access (free)
Amateur film, civic culture and the rehearsal of monarchy
Karen Lury

Dating from as early as 1906, a large number of amateur films commemorate royal visits to Scotland's town halls and schools. They capture- in lise Hayden's terms - the 'minor events' of British royalty where the monarchs' physical presence and symbolic embodiment are balanced on a 'knife's edge' as both their 'ordinariness' and uniqueness must be maintained simultaneously. This tension explains why the choreographing of these events is often (wearily) similar and the films boring. Nonetheless, these amateur films sometimes capture moments of contingency (the look at the camera, the unseemly exuberance of children) that expose the limits of this balancing act and the 'work' that underpins the perfonnance of monarchy. Conversely, in many cities across Scotland these royal encounters have been re-imagined in pageants and gala days also commemorated in amateur films. In these films, children take on royal functions, becoming fleshy 'effigies' of the monarch in ritualistic performances that dramatize the ambiguous origins of royal pageantry, whether the monarchs involved are 'real' or 'fake'.

in The British monarchy on screen
Open Access (free)
Jen Archer-Martin and Julieanna Preston

This chapter examines the durational live art performance bit-u-men-at-work. Created and performed as part of Performing Mobilities 2017, a city-wide festival in Melbourne, the work was the embodiment of a performance-as-research process with an agenda informed by post-human, new materialist and ecofeminist notions of material ecologies. Though the performance set out to investigate, question and possibly reconcile the abhorrent physical and cultural qualities of bitumen as a fossil fuel material, the industries invested in it and the social labour practices surrounding it, gestures of intimacy and care associated with repair emerged as significant transferable values towards developing an ethical material practice. The performance, as an artistic work, also attempted to extend theories, notions and practices of care to an earthly, exploited and assumed inert material, expanding socially driven conversations around care to ecological caring as a world-making activity. Affective labours of material care were enacted through strategies of becoming-other, intimate proximity and engrossment, seeking to cultivate ‘response-ability’ to the material other and beginning to generate a material-led aesthetics of care.

in Performing care
Writing on the body
Dana Mills

registers of the term sic and its use throughout the book, while releasing/​turning towards other dance and political theorists who have considered the relationship between dance and writing. Two books in particular have discussed inscription within the discipline of political theory and embodiment theory. Carrie Noland’s Agency and Embodiment:  Performing Gestures/​Producing Culture discusses the communicative power of gesture and reinstates embodied discourses in a performative setting. She argues that gesture is a phenomenologically independent world constructed

in Dance and politics
One Billion Rising, dance and gendered violence
Dana Mills

reception of the movement’s message, a moment of sic-​ sensuous. The chapter starts from a movement that tries to explicitly intervene in public spaces and positions women’s bodies in protest against the degradation of women and girls around the world. The chapter ends in the individual resisting body that may not take on board One Billion Rising’s message tout court. Nevertheless, the fractured body will respond to the call to oppose the marginalisation of female embodiment in its own way. Thus the chapter examines the reoccupation of space through dance on a dual level

in Dance and politics
Open Access (free)
Simon Smith, Jackie Watson and Amy Kenny

frameworks used to comprehend sensory experience. Dugan also asserts the significance of each individual’s unique embodiment of sensory experience, arguing that ‘individual bodies sense specific phenomena’ divergently. In order to study the senses in context, then, we must also interrogate the ‘shifting interface between individual cognition and shared material environments’, remaining cautious about flattening individual sensory encounters into undifferentiated models of collective experience.7 In the same article, Dugan locates a separate, salient concern for sensory

in The senses in early modern England, 1558–1660
Anu Koivunen, Katariina Kyrölä and Ingrid Ryberg

embodiment, ethics, affect, and ontology (Ahmed and Stacey, 2001; Clough and Halley, 2007; Garber et  al., 2000; Koivunen, 2001; 2010). Furthermore, it coincides with what Robyn Wiegman (2014) has termed the reparative ‘turn’ in queer feminist criticism. However, the history and routes of the concept’s travels are much longer and more complex. Invoked in the 1980s in the fields of moral and political philosophy (Goodin, 1985; 1988; Nussbaum, 1986), the concept subsequently travelled across disciplines:  from sociology and social policy studies (McLaughlin, 2012; Misztal

in The power of vulnerability