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A singing sailor on the Georgian stage
Anna Maria Barry

examination of Incledon’s career.12 Although it is essentially a case study of one quite atypical singer, it serves as a lens through which to interrogate the relationships between music, masculinity and the navy in late Georgian Britain. The chapter will begin by exploring Incledon’s self-representation as a sailor-singer. We will see that this identity was constructed through a multimedia effort that incorporated song, performance, stage scenery, costume, iconography and life-writing. The chapter will then move on to consider the reception of this identity, exploring how

in Martial masculinities
Gender and generation in Robert Southwell’s Epistle to his father
Hannah Crawforth

gender in early modern England, Michelle Dowd and Julia Eckerle somewhat contentiously argue that ‘the experimentation with form was a fundamental characteristic of women’s life writing’, inferring a self-conscious literariness in such works. 44 Citing Nigel Smith’s case for directly relating the ‘generic inventiveness and eclecticism’ that

in Conversions
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Elizabeth Clarke and Robert W. Daniel

Cambers’ assertion that there existed a significant paradigm within religious manuscript writing which consisted of ‘sociability and the self’. 28 William Sherman's research on the ‘dynamic ecology of use and reuse’ of printed books equally applies to manuscript life-writing, a major theme in this volume, whereby the use of devotional texts leads to their frequent ‘transformation’ and ‘preservation’. 29 A wealth of recent research, outlined by Zeynep Tenger and Paul

in People and piety
Open Access (free)
Janet Wolff

of thanks she had quite forgotten how furious they were with their driver, who rushed them away too early.) hH Alessandra Comini is one of a growing number of women academics writing memoirs. Some of the books, like hers, are accounts of an intellectual or political life, told in personal terms. Other writers have told stories of their lives as Holocaust survivors, or as children of survivors. For some, the nature of memoir and autobiography is the point of the work, which both contributes to the academic study of life-writing and at the same time tells the reader

in Austerity baby
The Rise of the New Model Army revisited
Ann Hughes

involved the telling of stories, the subjective narrating of personal experience. Financial accounts might ultimately develop into forms of life writing. 19 Village accounts of Civil War losses certainly offer evidence for heavy taxation and an onerous military presence, but equally significant is their creation as a participatory process through which the population engaged with and reflected on ‘the state’, or versions of the state, to some extent on their own terms. Local agency transformed the more abstract or instrumental demands of the ‘state’ into personal

in Revolutionising politics
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Laurence Lux-Sterritt

histories of their own communities and, as they did so, they became record keepers, historians and hagiographers, in charge of the perpetuation of their communities’ memories. They also wrote about their lives before and after they entered the convent, and such life writing played an important part in the proselytising endeavours of writers who aimed to edify through the dissemination of inspiring Catholic lives. Others expressed their views about issues relating to the governance of communities; they revealed fascinating glimpses into the ways early modern nuns envisaged

in English Benedictine nuns in exile in the seventeenth century
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Researching early modern women and the poem
Susan Wiseman

Society, Amherst, 1993, pp. 159–173; M. J. Ezell, ‘Domestic papers: manuscript culture and early modern women’s life writing’, in M. O. Dowd and J. Eckerle (eds), Genre and Women’s Life Writing in Early Modern England, Ashgate, Farnham, 2007, pp. 33–48, at pp. 33–4. 12 G. L. Justice, ‘Introduction’, in G. L. Justice and N. Tinker (eds), Women’s Writing and the Circulation of Ideas: Manuscript Publication in England, 1550–1800, Cambridge University Press, Cambridge, 2009, pp. 1–16, at pp. 5, 7. 13 Ezell, Social Authorship, p. 1; V. E. Burke and J. Gibson (eds), Early

in Early modern women and the poem
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Jan Montefiore

letters. The movement towards historicised readings of Kipling’s work is, of course, itself part of much broader changes in biographical writing and literary historiography. The difference between Carrington’s fairly reticent authorised biography (1955) and the new accounts of Kipling’s life by Lycett, Ricketts and others belong to a general turn by British biographers since 1980 towards Introduction detailed, deeply contextualised, sexually candid life-writing, while recent bio­ graphies of Kipling’s mother and her sisters, his son John and his wife Carrie18 are part

in In Time’s eye
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Plain tales and hill stations
Margaret Rachel Beetham

when she began to write letters? Rachel tried to remember. It must have been. The start of all those many years of the weekly letter written from boarding school, and the letters arriving – sometimes a typed one from Dad and always, every week, a letter from Mum. She never missed. After all, she had spent her life writing letters, starting from when she was sent home from India herself to go to boarding school. That’s how they all kept in touch. Now, of course, noone wrote letters. They went on Facebook or emailed or texted, as Rachel did. Everyone had mobile phones

in Writing otherwise
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Adventures in reality: why (punk) fanzines matter
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln, Bill Osgerby, Lucy Robinson, John Street, and Pete Webb

Society, 23:3 (1998), 809–41; Ellen Riordan, ‘Commodified Agents and Empowered Girls: Consuming and Producing Feminism’, Journal of Communication Inquiry, 25:3 (2001), 279–97; Anita Harris, ‘gURL Scenes and Grrrl Zines: The Regulation and Resistance of Girls in Late Modernity’, Identities, 75 (2003), 38–56; Jennifer Sinor, ‘Another Form of Crying: Girl Zines as Life Writing’, Prose Studies: History, Theory, Criticism, 26:1 (2003), 240–64; Feona Attwood, ‘Sluts and Riot Grrrls: Female Identity and Sexual Agency’, Journal of Gender Studies, 16:3 (2007), 233–47; Sara

in Ripped, torn and cut