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Prince Alfred, Queen Victoria and Melbourne, 1867–68

The first British royal tour to Australia drew attention to two Victorias: the Queen and the colony. 1 While the colony of Victoria in Australia was only one of several ‘Victorias’ created during the august queen’s reign, by the 1860s residents could be forgiven for thinking it was the most important. 2 The association between Victoria and the Queen was relatively recent and reflected the

in Crowns and colonies
Sarah Harriet Burney‘s The Romance of Private Life

Sarah Harriet Burney‘s little-known 1839 novel The Romance of Private Life is a novel that, in many ways, seems to belong to the 1790s, rather than to the early years of Victoria‘s reign. Burney constantly draws attention to both her own works deviance from the Gothic plot, and her reliance on this plot to structure the two stories that comprise the volume. While The Hermitage is arguably the world s first murder mystery, The Renunciation represents a process of thinking through the afterlife of the Gothic plot in a rapidly changing world, anticipating the works of the Brontës and Dickens. The Renunciation represents a conscious reworking of what Italy had come to mean in the early Victorian period, reframing Italy as an artistic wonderland where women were given the means and opportunity to pursue artistic and other independent professional existences. I argue that Burney‘s story represents an ambitious, critically overlooked attempt to reframe the literature of the eighteenth century for a new age.

Gothic Studies

tells of the comeuppance of Cecil Rhodes by three African kings or paramount chiefs who sailed to London to negotiate with Queen Victoria’s government in 1895. The film is based on my book King Khama, Emperor Joe, and the Great White Queen , published by University of Chicago Press in 1998. Rhodes used to boast that every man had his price. At least in the case of Khama, the

in Mistress of everything
Procurement networks and the purpose of a museum

. From its inception, the National Museum of Victoria (now known as Museum Victoria and located in Melbourne, Australia) performed the dual roles of research and public education. Its long-time director, Sir Frederick McCoy observed that this was a tightrope with ‘many of even the better informed classes of the public clinging to the old notion of a Museum being at best a place merely for the innocent amusement of schoolboys and idlers’. 2 McCoy wanted a museum for serious public instruction and research, but his museum also

in Curating empire
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Vampires, Lesbians, and Women of Colour

The lesbian community of colour in America has been largely overlooked amidst the current popular culture mania for all things vampiric. Yet the complex ambiguity of the lesbian vampire very readily lends itself to women of colour, who frequently explore in their gothic fiction the intersections of gender, sexuality, race, class, assimilation, and the transgressive significance of the vampire myth. This essay discusses two works by African-American Jewelle Gomez and Chicana- American Terri de la Pena as lesbian Gothic romantic fiction, as feminist affirmation, and as prescriptive, community-building activist discourse.

Gothic Studies
Gender, Money and Property in the Ghost Stories of Charlotte Riddell

This article explores Riddells representational strategies around gender: in particular her male narrators and her female characters made monstrous by money. It argues that Riddell, conscious of social prohibitions on financial knowledge in women, employs male protagonists to subversive effect, installing in her stories a feminine wisdom about the judicious use of wealth. Her narratives identify the Gothic potential of money to dehumanise, foregrounding the culpability of economic arrangements in many of the horrors of her society. While they contain pronounced elements of social critique, they ultimately however defend late-Victorian capitalism by proff ering exemplars of the ethical financial practice by which moneys action is to be kept benign.

Gothic Studies
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Film Renters in Manchester, 1910-1920

Although film renting began in Britain in London, the rapid spread of cinemas after 1910 meant that there was a demand for distribution closer to the sites of exhibition. As a long-established trading centre, Manchester was well placed to become the hub for Northern distribution, and local trade directories list distributors from 1912 onwards. These clustered at first near Victoria Station, but soon moved to Deansgate, as independent distributors began to outnumber branch offices of the major companies. The life-expectancy of these was short, and the First Worlds War affected their business, but they remain an important and under-researched aspect of the early British cinema business.

Film Studies
Queen Victoria in Indigenous worlds
Editors: Sarah Carter and Maria Nugent

Indigenous people in Britain’s settler colonies engaged Queen Victoria in their diplomacy and politics, and incorporated her into their intellectual and narrative traditions. These interpretations of Victoria have much to tell us about indigenous peoples’ experiences of and responses to British colonization, and they also make a significant contribution to historical and contemporary understandings of British imperial and colonial history. The essays in this volume, that focus on Australia, New Zealand, South Africa and Canada, offer detailed studies from these settings, of the political, imaginative, diplomatic and intellectual uses of Queen Victoria by indigenous peoples. They also consider the ways in which the Crown’s representatives employed the figure of the monarch in their dealings with the people displaced by British colonization. The collection offers compelling examples of the traffic of ideas, interpretations and political strategies among and between indigenous people and colonial officials across the settler colonies. Together the chapters demonstrate the contributions that Indigenous peoples of the settler colonies made to British imperial culture and cultures of monarchy.

‘Indian’ art at the Sydenham Palace

6 From Ajanta to Sydenham: ‘Indian’ art at the Sydenham Palace Sarah Victoria Turner Histories of the display of Indian art and material culture in Victorian Britain have, for very good reason, largely focused on the dazzling spectacles of the Great Exhibition of 1851, its progeny, the South Kensington Museum (now the Victoria and Albert Museum), and subsequent temporary international exhibitions at South Kensington, such as the Colonial and Indian Exhibition of 1886.1 By the second part of the nineteenth century, India occupied a significant amount of

in After 1851

Reproducibility, propaganda and the Chinese origins of neoliberal aesthetics Victoria H. F. Scott The artist has truth on his or her team. Andrew J. Mitchell, Heidegger Among the Sculptors1 Walter Benjamin’s thesis about the reproducibility of art is often misconstrued. The significance of the reproducibility of art, via the invention of photography (and later film and television), is frequently explained as the first step towards the democratisation and demystification of art. After the invention of photography circa 1826, the story goes, everyone could own a

in Art, Global Maoism and the Chinese Cultural Revolution