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Melodrama and Tory socialism
Deborah Mutch

‘Connie’ 8 •• ‘Connie’: melodrama and Tory socialism Deborah Mutch That night she danced with a heavy heart and went home tired and restless. Sleep only came to her by fits and starts, and in her dreams she saw the Boss talking to the manager of the theatre. So the next morning she was not astonished to hear that her services were no longer required, that she must look out for another engagement. (‘Connie’ [Law, 1893–94: September 1893, p. 10]) You are my brother’s mistress, a woman of no reputation, whose proper place is the workhouse. Living here, you do

in Margaret Harkness
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Bruce Woodcock

J ACK Maggs begins in the best traditions of Victorian melodrama: The immediate attention to details – ‘the red waistcoat’, ‘to be precise’ – is notable, as is the style of narrative delivery. The narrator’s manner is inflected with phrasings which are slightly colloquialised (‘It was a Saturday night’, ‘looked out the window’) and antiquated (‘six of the clock’). After experimenting with a more deliberately antique narrative voice, adapted from accounts in eighteenth- and nineteenth

in Peter Carey
Ruth Livesey

, stimulated debate around the value of realism or romance, naturalism or melodrama. In order to amplify Harkness’s London soundscape in this context I want to contrast it with Henry James’s novel of poverty and anarchy in 1880s London, The Princess Casamassima (1922 [1885–86]). The Princess Casamassima is a self-­ consciously experimental foray into naturalism and political activism that throws into relief the experimental value of genres in A City Girl and its resistance to the aesthetic. James’s quest to know the lives of others by a kind of auscultation of internal

in Margaret Harkness
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Appropriating identity?
Brenda Cooper

outside the framework of race, that still dominates the post-apartheid South African scene. It feels easier to write my own story here in Salford. The political urgencies of South Africa had seemed to prohibit it and make it self-indulgent. Here in England the melodramas of race meld more easily into broader questions of privilege; the Black British African diaspora makes the malleability of cultures palpable; Jackie Kay is a key influence, rather than Chinua Achebe or Ama Ata Aidoo. Here racial lines feel to me more 123 Displacements blurred. Helen Oyeyemi, for

in Writing otherwise
Russell J. A. Kilbourn

essays that takes the problem of genre in Sebald as its focus, reading Austerlitz in particular against the prevailing positive reception as an instance of what he calls ‘Holocaust melodrama’ (2006: 691). Zilcosky’s premise is that the book betrays elements of not merely genre in the neutral sense of a ‘recurring type or category of text, as defined by structural, 257 4003 Baxter-A literature:Layout 1 9/9/13 13:03 Page 258 ‘Prose’ and photography thematic and/or functional criteria’ (Duff 2000: xiii), but also in the potentially pejorative sense of ‘genre fiction

in A literature of restitution
The Vorticist critique of Futurism, 1914–1919
Jonathan Black

Maupassant – so closely connected with the intellectual milieu that had given birth to Impressionism. In the section entitled ‘Melodrama of Modernity’ Lewis dismissively wrote ‘Futurism, as preached by Marinetti, is largely Impressionism up-to-date’ (Lewis 2002: 143). In the ‘Bless England’ section of Blast, Lewis (2002: 23–4) proceeded to trumpet the country as the cradle of the Industrial Revolution and Adamowicz and Storchi, Back to the Furutists.indd 165 01/11/2013 10:58:48 166 Jonathan Black 10.3  Edward Wadsworth, Fustian Town / Hebden Bridge, 1914–15, woodcut

in Back to the Futurists
Patsy Stoneman

Napoleonic period, which ‘made revolt seem an Englishman’s natural right and duty’ (Lansbury: 160), set the tone for industrial conflict forty years on. Because the striking public events in Sylvia’s Lovers seem incongruous in a ‘pastoral love-story’, they have been criticised, like many of the short stories of this period, as melodramatic. For McVeagh, the novel’s ‘sudden lapse into melodrama’ spoils its ‘leisurely exposition of simple passionate lives in one spot at one point in time’ (McVeagh, 1970b: 272). This criticism, however, is another example of a mistaken

in Elizabeth Gaskell
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A History of the World in 10½ Chapters
Peter Childs

’s nautical melodrama The Shipwreck of the Medusa: Or, The Fatal Raft! , and Messrs Marshalls’ Grand Marine Peristrephic Panorama of the Shipwreck of the Medusa French Frigate with the Fatal Raft . While the melodrama and the panorama differed significantly in their interpretation of the events surrounding the original shipwreck they were both connected by the painting through plagiarisms or the performance of tableaux, and thereby engaged, consciously or not, with Géricault’s singular interpretation and artistic vision/intentionality.’ 4 See

in Julian Barnes
Laura Peters

, in the form of orphans and colonial subjects, facing the achievement of this ideal, both at home and abroad. In this way, orphan adventure narratives come close to the soldier tales that Graham Dawson considers in which ‘Melodrama … [with] its strong moral contrasts and heightened intensity of response produce a specific kind of idealised adventure hero’ (Dawson, 1994 : 112). Charles Wall’s The

in Orphan texts
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The audience as subject
Sara Lodge

performance characterized by mixed genre (melodrama, burletta, pantomime), the combination of speech with music and spectacular effect, and thinly-veiled political commentary. The rise of ‘illegitimate’ theatrical culture in the late eighteenth and early nineteenth centuries, the ideological disputes played out in its dialogue with ‘legitimate’ genres, and its success in overturning the terms of cultural monopoly, constitute a narrative long veiled by readings of the period that claimed a decline in public theatre and a concomitant poetic turn toward closet drama. Hood

in Thomas Hood and nineteenth-century poetry