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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.

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How did laywomen become nuns in the early modern world?
Elizabeth A. Lehfeldt

such a ceremony from a fifteenth-century guide for English Benedictine nuns. 2 The event took place at the altar of the convent church with the other nuns looking on from their stalls in the choir. The novice read her profession in the presence of a priest, made the sign of a cross in the book of profession, approached the altar with her novice mistress, kissed the altar, bowed

in Conversions
Gothic and the perverse father of queer enjoyment
Dale Townshend

the apartment. Soon after the priest descended to vespers, much surprised at the mystery of the youth’s behaviour. 11 Later, yet still prior to the disclosure of Philario’s female name and identity, the young novice will kiss Father Innocent on the mouth and, in a gesture of love and devotion, strew flowers around his cell

in Queering the Gothic
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Enlightenment, automata, and the theatre of terror
Victor Sage

isolation and habitual obedience of the convent quite early on in her account of life at Longchamp. On the morning of taking her vows, she is undressed by the novice-mistress and her fellows: She had hardly gone out before the novice-mistress and my fellows entered; my religious habit was taken off and I was dressed in

in European Gothic
Marie Helena Loughlin

reject, but what the mistress of the novices22 called ‘The Ecstatic Intromission’.23 Thou couldst not have believed that such holy souls could have been capable of employing themselves in such profane exercises? […] After which24 thou shalt be my confessor,25 I will be thy penitent, and I protest thou I will as freely unbottom to thee my heart as if thou thyself feltest the purest motions of it. Agnes. After so many words, I do not think I ought to doubt of your sincerity, wherefore I will not only tell you what you desire to know of me, but I shall even take a

in Same-Sex Desire in Early Modern England, 1550–1735
Open Access (free)
Representations of the house in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke
Lucy Collins

time-frames, both under siege by the same strong winds.31 The mistress of novices has sent all the novices Upstairs into the choir to practise The service for deliverance from storms and thunder. Their light dapples the sharkskin windows, The harmonium pants uphill, The storm plucks riffs on the high tower.32 9780719075636_4_008.qxd 156 16/2/09 9:25 AM Page 156 Poetry The retreat upstairs is one that both protects and exposes the novices in the face of the coming storm, yet they only ‘practise’ the service, postponing the fullest test of the power of prayer

in Irish literature since 1990
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Rewriting the English lyric landscape
Anne Sweeney

in the Novitiate generally reflected this fascination with landscape, and novices were schooled in its implications. In ‘A vale of teares’ (p. 41) Southwell presents a remarkable vision: a landscape clearly taken from life, the result of actual observation of nature, but one that, in its ‘disordred order’, presents the truest reflection, as he sees it, of England’s fallen

in Robert Southwell
Marsh and the female offender
Johan Höglund

deeply informed by the notion of hereditary criminality.10 As the vampiric contagion spreads in London, Van Helsing explains to the ­gathering of brave white men and to Mina Harker that Dracula is ‘predestinate 48 Marsh and the female offender [sic] to crime’. Mina, apparently no novice to racial theory, takes his drift, agreeing that the count is ‘a criminal and of criminal type. Nordau and Lombroso would so classify him.’11 In the Egyptian sorceress who invades London in The Beetle (1897), Marsh produced a criminal deviant quite similar to Dracula.12 Just as Dracula

in Richard Marsh, popular fiction and literary culture, 1890–1915
Robert Shaughnessy

parts – the difference, say, between Mistress Quickly in Henry V (63 lines) and Cleopatra (678) – and also informs the structuring of a part’s relations to others, most importantly, McMillin observes, in terms of cues. One condition of part-playing is that it demands a high state of attentiveness and mental agility: equipped only with a short cue that is not identified by its speaker, the player

in As You Like It
Margaret J. M. Ezell

Savage, King interprets attacks by Haywood on Sansom as being primarily literary and commercial in nature, caused by a shift by Hill from Haywood to Sansom as his literary patron and benefactor, not mistress. As King concludes, ‘literary rivalry can be a potent force as well, as we know from countless squabbles between Augustan male writers, and Haywood’s [representation of Sansom] is, significantly, scathing in its assessment of Sansom’s poetic abilities’.18 Interestingly, these two examples also demonstrate the complexities of the relationship between the realm of

in Early modern women and the poem