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New approaches and perspectives
Editor: Brian Lewis

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.

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Escaping the empire
Peter Mitchell

In John Everett Millais’ painting The Boyhood of Raleigh , two small boys sit at the feet of a sailor. One of them is richly dressed in full Tudor getup – a piped velvet suit and white ruff, with an extravagantly plumed stovepipe hat by his side on the ground, silk stockings, and dainty red tasselled shoes. The other is in more sober clothes, but clearly also the son of a

in Imperial nostalgia
Joanna Crosby

. 6 Apple Blossoms , or Spring ( 1856–59 ). Oil on canvas, John Everett Millais (1829–96) The painted orchard and the Gothic imagination Paintings of orchards were often sentimental genre paintings, but among them are some remarkable paintings that tap into the enchanted and dangerous associations of the orchard. Such a painting is Millais's Apple Blossoms (also known as Spring , and exhibited

in EcoGothic gardens in the long nineteenth century
Henry Scott Tuke
Jongwoo Jeremy Kim

tucked into the frame of the mirror further suggest that the courtship has been carried on for a while. 26 As articulate objects, these letters anchor the meaning of Solomon’s painting as a narrative of love. In John Everett Millais’s Trust Me , 1862 (see Figure 5 ), a letter creates a confrontational divide between father and daughter, as visualised by the vertical golden line thinly blazing between the two door panels in the back: the elderly gentleman does not approve of the nature of the letter his daughter safeguards from him. In his red hunting jacket with a

in British queer history
Between respectable and risqué satire in 1848
Jo Briggs

Patrick Leary, The Punch Brotherhood: Table Talk and Print Culture in MidVictorian London (London: The Trustees of the British Library, 2010).  2 [Albert Smith and Tom Taylor], Novelty Fair; or, Hints for 1851, an exceedingly premature, and thoroughly apropos Revue (London: Lacy, [1850]), p. 8.  3 For a discussion of cartoons of the special in relation to Millais’s 1852 painting, A Huguenot, see Jo Briggs, ‘“The Old Feelings of Men in a New Garment”: John Everett Millais’s  A Huguenot  and Masculine Audiences in the Mid-Nineteenth Century’, Nineteenth Century Art

in Novelty fair
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The iconography of water in painting and photography
Vybarr Cregan-Reid

doggedly returned to historical themes.69 An ideal case is that of John Everett Millais’s The Return of the Dove to the Ark (1851).70 Depicting two of Noah’s daughters-in-law receiving the dove back to the Ark, the image is stark in its representation with only two figures, a bare interior, the dove, and the olive branch. Except for what is dictated by the painting’s theme, the book of Genesis is muted in this painting (the dove in Genesis returning only to Noah). Unlike his Romantic forebears, who attempted to depict the whole inundation of nature, Millais shows himself

in Discovering Gilgamesh
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Matador
Ana María Sánchez-Arce

Proserpina (The Rape of Proserpina). Uncharacteristically for the baroque, however, neither of the figures has any expression. They are relaxed, statuesque, but there is none of the extreme emotion conveyed by baroque painting and sculpture in their faces. This aspect of the final composition recalls a pre-Raphaelite style with its emphasis on spirituality and necrophilia. María’s face with her half-open mouth and unnaturally folded arm are reminiscent of John Everett Millais’ Ophelia (1852), although María’s face lacks the ecstatic expression of Ophelia ( Figure 4

in The cinema of Pedro Almodóvar
W. J. McCormack

; in ‘Carmilla’ a resurrection occurs from within a portrait. The scene from Uncle Silas reproduces something thematic from the Pre-Raphaelite repertoire, but wholly lacks its sense of line and form; the scene from ‘The Haunted Baronet’ has the precision of natural depiction for which Sir John Everett Millais’s Ophelia is renowned, but insists on its own disruptive

in Dissolute characters
The afterlives of Ophelia in Japanese pop culture
Yukari Yoshihara

, retreats to a spa resort in the mountains, looking for subjects for his paintings. He attempts to draw the mysterious hostess of his hotel, O-Nami, as an Ophelia in the style of John Everett Millais's painting Ophelia (1851–52). The artist learns about O-Nami's tempestuous life, including the forced separation from her lover, an unhappy marriage for money and divorce. In spite of her sad life, O-Nami is a highly intellectual, independent-minded and rebellious woman – a character that contrasts sharply with Shakespeare's Ophelia or Victorian Ophelias, generally

in Shakespeare and the supernatural
Melanie Keene

physical sensations of its use – a familiar shelter from the storms of history. When Fun sent up the Royal Academy as ‘Noah's Ark-ademy’ in 1868 (John Everett Millais was one of the giraffes), its comic cartoonist assumed that readers needed no further introduction to the biblical boat; moreover, the satirical piece had opened with the purchase of a toy ark. 2 Not only was the scriptural story well-known in the Christianised world of the imperial metropolis, but its visual iconography had settled

in Pasts at play