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Gender, sexuality and transgression
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This book demonstrates that incest was representative of a range of interests crucial to writers of the Gothic, often women or homosexual men who adopted a critical stance in relation to the heteronormative patriarchal world. In repositioning the Gothic, representations of incest are revealed as synonymous with the Gothic as a whole. The book argues that extending the traditional endpoint of the Gothic makes it possible to understand the full range of familial, legal, marital, sexual and class implications associated with the genre's deployment of incest. Gothic authors deploy the generic convention of incest to reveal as inadequate heteronormative ideologies of sexuality and desire in the patriarchal social structure that render its laws and requirements arbitrary. The book examines the various familial ties and incestuous relationships in the Gothic to show how they depict and disrupt contemporary definitions of gender, family and desire. Many of the methodologies adopted in Gothic scholarship and analyses of incest reveal ongoing continuities between their assumptions and those of the very ideologies Gothic authors strove to disrupt through their use of the incest trope. Methodologies such as Freudian psychoanalysis, as Botting argues, can be positioned as a product of Gothic monster-making, showing the effect of Gothic conventions on psychoanalytic theories that are still in wide use today.

Open Access (free)
Jazzing the Blues Spirit and the Gospel Truth in James Baldwin’s “Sonny’s Blues”
Steven C. Tracy

The webs of musical connection are essential to the harmony and cohesion of James Baldwin’s “Sonny’s Blues.” As a result, we must explore the spectrum of musical references Baldwin makes to unveil their delicate conjunctions. It is vital to probe the traditions of African-American music—Spirituals, Blues, Jazz, and Pop—to get a more comprehensive sense of how Baldwin makes use of music from the sacred and secular continuum in the African-American community. Looking more closely at the variety of African-American musical genres to which Baldwin refers in the story, we can discern even more the nuances of unity that Baldwin creates in his story through musical allusions, and shed greater light on Baldwin’s exploration of the complexities of African-American life and music, all of which have as their core elements of human isolation, loneliness, and despair ameliorated by artistic expression, hope, and the search for familial ties. Through musical intertextuality, Baldwin demonstrates not only how closely related seemingly disparate (in the Western tradition) musical genres are, but also shows that the elements of the community that these genres flow from and represent are much more in synchronization than they sometimes seem or are allowed to be. To realize kinship across familial (Creole), socio-economic (the brother), and most importantly for this paper appreciation and meanings of musical genres advances to Sonny the communal cup of trembling that is both a mode and an instance of envisioning and treating music in its unifying terms, seeing how they coalesce through a holistic vision.

James Baldwin Review
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Katie Donington

This chapter explores the Hibberts’ familial and commercial roots in north-west England in the eighteenth century. Interweaving family and local history, the chapter examines how the Manchester economy became integrated into the system of transatlantic slavery. Building on recent work which has examined the relationship between slavery, cotton and capitalism, it traces the development of a distinctive network of merchants bound together by religious and familial ties who were involved in the cloth trade and the slave economy. Analysing the records of the Unitarian Cross Street Chapel, the chapter reconstructs the personal and business relationships of some of its most prominent families. Documenting the marriages of several generations of Hibbert men and women, the chapter considers how the family consolidated their position through alliances which enriched and expanded their commercial interests. It also gives an account of how the gendered expectations of mercantile families shaped the childhood experiences of sons and daughters. It concludes with a reflection on how Manchester’s links to the slaving past have been represented and remembered within the city’s public histories.

in The bonds of family
Open Access (free)
Putting the countryside back to work
David Calder

This chapter analyses the conversion of a rural factory (camera case manufacturer Photosacs in Corbigny) into an arts centre and base of operations for street theatre company Metalovoice, a project designed to transform Corbigny into a rural cultural hub. But it risks being intelligible as part of a scenario of development that has long subordinated rural workers (especially women) to urban markets and consumers. In response, Metalovoice position themselves as artisans with familial ties to industrial heritage. The discourses produced by and about a street theatre institution and the industrial aesthetics of Metalovoice's inaugural event are linked by the folded logic of reincorporation: material from the past is resurrected for use in the present, changing the meaning of past and present in the process. Attempts to refashion history by discursively and aesthetically linking industrial workers and artists might grant both groups symbolic clout, but they might also obscure the gendered specificities of a local labour history. Through an intentionally micro-level analysis – of one event at one factory in one small town – the chapter links street theatre’s present economic function to its ability to reorder people, spaces, and times.

in Street theatre and the production of postindustrial space
Place, space and discourse
Editors: and

Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.

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The material and visual culture of the Stuart Courts, 1589–1619
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This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

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Ruvani Ranasinha

perspectives. The two men swiftly established subcontinental familial ties. Like Kureishi's father, Rushdie hailed from a middle-class, cosmopolitan, irreligious Muslim family. Shanoo had been to the elite Cathedral School in Bombay that Rushdie later attended. After Partition both families had settled a few streets away from each other in Karachi. Rushdie's mother knew Kureishi's grandmother. Emerging at a time when metropolitan literary culture was dominated by white Oxbridge men, Rushdie's trajectory speaks of an allied world of cosmopolitan mobility

in Hanif Kureishi
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Susan Hayward
and
Phil Powrie

. To that extent it undermines its role as an auteur film that exports ‘Frenchness’; moreover, despite the fact that Besson’s obsession with the disintegrating family may be one of the marks of his auteur vision, in this film, the solitary individual that this vision produces – a single girl without national or familial ties – paradoxically supports the structures that may appear to ‘cause’ this same disintegration. The

in The films of Luc Besson
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Martial masculinities and family feeling in old soldiers’ memoirs, 1793–1815
Louise Carter

familial ties and loyalties.95 Familial identities mattered to men for a host of social, cultural, political, economic and emotional reasons, and despite the hurdles that army life put in the way of fulfilling and maintaining such identities, veterans’ memoirs suggest that they remained pivotal to the soldiers’ sense of self and emotional wellbeing. While wartime propaganda might have vaunted donning a red coat as the defining masculine trait, veterans’ reminiscences and reflections suggest that soldiers nevertheless continued to regard wearing the mantle of son, father

in Martial masculinities
Carrie Hamilton

or members of their cuadrilla (see chapter 2).29 Thus, for example, of the fourteen female activists sampled above only one had no reported partner or relative previously or currently inside ETA, and several had more than one – including cousins, siblings, uncles, and even parents – as well as partners. If we consider that many women probably also had activist friends, the network of social relations expands even further beyond the heterosexual couple. A cursory look at the profiles of prominent ETA activists indicates the importance of familial ties in the

in Women and ETA