Dafydd W. Jones

and European literary avant-garde (including Apollinaire, Cendrars, Cocteau, Dermée, Fort, Gide, Jammes, Marinetti, Pound, Yeats); the artistic avant-garde (including Delaunay, van Dongen, de la Fresnay, Laurencin, Rivera, Severini); art galleries, dealers, critics and experts (including Coquiot, Duret, Rosenberg); composers (including Debussy, Ravel); politicians and political writers (including Clemenceau, Descaves, Tailhade (Taillade)); acquaintances and associates of Oscar Wilde in Paris; and, perhaps most illuminating, the names of journals and journalistic

in The fictions of Arthur Cravan
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Queering the Gothic
William Hughes and Andrew Smith

conventionally regarded as being central to the development of Gothic. The documented same-sex affiliations of Horace Walpole and many of his successors from William Beckford to Oscar Wilde, and from Jewelle Gomez to the anthologist of lesbian vampire narratives, Pam Keesey, cannot be denied. Similarly, contemporary Gothic writers, such as Anne Rice and Poppy Z. Brite, irrespective of their stated sexual orientation, have

in Queering the Gothic
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Beatrice Grimshaw and the commercial woman writer
Jane Mahony and Eve Patten

associated Lane’s firm with the ‘New Woman’, while the contemporaneous publication of Oscar Wilde 87 Jane Mahony and Eve Patten (Salome in 1894, illustrated by Beardsley) and The Yellow Book (also between 1894 and 1897), identified it with Aestheticism and Decadence. Publication of the Keynotes series came at a pivotal time in the campaign of sustained, hostile reaction to the New Woman undertaken by newspapers and periodicals in the late 1880s and 1890s, peaking after the ‘critical uproar’ that followed the publication of Blanche Alethea Crackanthorpe’s article ‘The

in Irish women’s writing, 1878–1922
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The ‘actor’s actor’?
Andrew Roberts

fantasy London, you can believe that Charlie genuinely and almost desperately craves the vase he saw in the British Museum as a child. Melanie Williams saw one of Finch’s strengths as an actor as bringing ‘the right combination of romantic self-deception and rueful realism to his characterisation of someone falling in love despite his better judgement’ ( 2005 : 130). This applies to Make Me an Offer as much as The Trials of Oscar Wilde (Ken Hughes 1960) or Girl with Green Eyes (Desmond Davies 1963). The point at which he finally encounters the vase is a moment of

in Idols of the Odeons
Society gossip, homosexuality and the logic of revelation in the interwar popular press
Ryan Linkof

… Charlton posed as an oldfashioned Bohemian.’ 29 Swaffer, a longtime friend of Charlton, wrote of how Charlton’s ‘flamboyant’ dress made him somewhat of a public spectacle, but he admitted to being ‘impressed by his elegance’ and even admitted that he had taken inspiration from Charlton’s dandified appearance. 30 Though dandyism did not necessarily denote homosexual behaviour, the post-Oscar Wilde associations between dandyism and sexual immorality could lead to a conceptual slippage between the two. As many historians have shown, the trials of Oscar Wilde had

in British queer history
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.

Social and cultural modernity beyond the nation-state
Author: Shivdeep Grewal

German philosopher Jürgen Habermas has written extensively on the European Union. This is the only in-depth account of his project. Published now in a second edition to coincide with the celebration of his ninetieth birthday, a new preface considers Habermas’s writings on the eurozone and refugee crises, populism and Brexit, and the presidency of Emmanuel Macron.

Placing an emphasis on the conception of the EU that informs Habermas’s political prescriptions, the book is divided into two main parts. The first considers the unfolding of 'social modernity' at the level of the EU. Among the subjects covered are Habermas's concept of juridification, the latter's affinities with integration theories such as neofunctionalism, and the application of Habermas's democratic theory to the EU. The second part addresses 'cultural modernity' in Europe – 'Europessimism' is argued to be a subset of the broader cultural pessimism that assailed the project of modernity in the late twentieth century, and with renewed intensity in the years since 9/11.

Interdisciplinary in approach, this book engages with European/EU studies, critical theory, political theory, international relations, intellectual history, comparative literature, and philosophy. Concise and clearly written, it will be of interest to students, scholars and professionals with an interest in these disciplines, as well as to a broader readership concerned with the future of Europe

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Fin-de-siècle gothic and early cinema
Paul Foster

.3: 277–87. Ellmann, R. (ed.) (1969), The Artist as Critic: Critical Writings of Oscar Wilde , Random House: New York. Foster, P. (2009), ‘“The Amazing Cinematograph”: Cinema and Illusion in Francis Ford Coppola’s Bram

in Monstrous media/spectral subjects
Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

Counterfactual Romanticism and the aesthetics of contingency
Damian Walford Davies

The aesthetics of contingency 1 •• ‘The object as in itself it really is not’: Counterfactual Romanticism and the aesthetics of contingency Anne C. McCarthy The one duty we owe to history is to rewrite it. (Oscar Wilde)1 Counterfactual methodologies ask us to confront the reality of contingency, prompting us to reconsider the status of a past often assumed to have been inevitable. In doing so, the counterfactual recasts the present and the future as sites of radical possibility where basic assumptions about identity are undone through the recognition of

in Counterfactual Romanticism