This book demonstrates a fruitful cross-fertilisation of ideas between British queer history and art history. It engages with self-identified lesbians and with another highly important source for queer history: oral history. The book highlights the international dimension of what to date has been told as a classic British tale of homosexual law reform and also illuminates the choices made and constraints imposed at the national level. It embarks on a queer critical history, arguing for the centrality, in John Everett Millais's life-writing, of the strange-to-us category of unconventionality. The book aims to expose the queer implications of celebrity gossip writing. It offers a historical analysis of the link between homosexual men and gossip by examining the origins of the gossip column in the British tabloid press in the three decades after 1910. The book provides an overview of the emergence and consolidation of a number of new discourses of homosexuality as a social practice in postwar Britain. It explores a British variant on homophile internationalism before and immediately after the 1967 Sexual Offences Act by mapping Grey's cross-border connections while noting strain against transnational solidarity. The book focuses on evidence collected by the 1977 Committee on Obscenity and Film Censorship to illustrate how gay men conceptualised the place of pornography in their lives and its role in the broader struggle for the freedom.
’s notion that the “measure of progress” of a society was its degree of individuation and differentiation. Bookchin aligned himself with Read’s naturalistic conception of the unity achieved through the differentiation of the components of a whole: “ An expanding whole is created by the diversification and enrichment of its parts .”’ 30
Herbert Read was a familiar figure in Britisharthistory and criticism from the 1930s to his death in 1968. The span of his interests and contribution is captured in many places and is being increasingly
Ralph Hotere and ‘New Commonwealth Internationalism’
Hotere exists on the edges of this moment in Britisharthistory, and, as this chapter argues, placing him in this
context makes sense of dimensions of his practice that otherwise
remain invisible and inexplicable if he is defined only as a New
Zealand artist. And yet, the presence of other settler New Zealand
artists in this milieu enable us to see something distinctive
, ‘The Authority of Art: Cultural Criticism and the Idea of the Royal
Academy in Mid-Victorian Britain’, ArtHistory, 20 (1997), 3–22.
62 For an overview see W. J. Bate, From Classic to Romantic: Premises of Taste in EighteenthCentury England (Cambridge, Mass., 1946).
63 I. Pears, The Discovery of Painting: The Growth of Interest in the Arts in England,
1680–1768 (London, 1988), esp. 1–26.
64 Cited in Pears, Discovery, 11–12.
65 Pears, Discovery, 15–16.
66 For recent comparative perspectives on these issues see C. Paul (ed.), The First
Modern Museums of Art (Los
the “National Portrait” in Victorian Britain’, ArtHistory, 17:4 (1994), 523.
34 Ibid., 522.
35 Cameron, ‘Annals of My Glass House’, p. 137.
36 Quoted in Barlow, ‘The Imagined Hero as Incarnate Sign’, 522.
37 Carlyle’s familiarity with this dual status was revealed in an exchange with his wife Jane
when she recognized her portrait in a shop window and recognized its status as index and as
emblem: ‘The greatest testimony to your fame’, she wrote, ‘seems to me to be the fact that
my photograph is stuck up in Macmichael’s window ... It proves the interest
: Whiggery, Religion, and Reform, 1830–1841 (Oxford:
Clarendon Press, 1987); Jonathan Parry, The Politics of Patriotism: English Liberalism, National
Identity and Europe, 1830–1886 (Cambridge: Cambridge University Press, 2006), esp. chapter
2; Adele M. Ernstrom, ‘“Why should we be always looking back?” “Christian art” in
Nineteenth-century Historiography in Britain’, ArtHistory, 22:3 (1999), 421–35.
14 Linda Colley, Britons: Forging the Nation, 1707–1837 (New Haven: Yale University Press,
15 Michaela Giebelhausen, Painting the Bible: Representation and Belief