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Helena Ifill

33 1 Ii Basil and No Name I have not thought it either politic or necessary, while adhering to realities, to adhere to every-​day realities only … Those extraordinary accidents and events which happen to few men, seemed to me to be as legitimate materials for fiction to work with … as the ordinary accidents and events which may, and do, happen to us all.1 (Wilkie Collins, dedicatory letter, Basil, 1862 [1852]) A defensive tone is apparent in Collins’s dedicatory letter to his second published novel, Basil: A Story of Modern Life (1852), as he goes to some

in Creating character
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Janice Norwood

2 Establishing a name Competition was integral to the nineteenth-century theatrical business model, whether it be between rival managements and venues in their quest to attract and retain audiences or between individual performers in obtaining engagements. The actress’s ability to operate in such an environment was dependent on more than her talent: socioeconomic factors also played their part. From study of decennial census information Tracy C. Davis identifies the trends in the number of women who are registered as actresses. While recognising the unreliability

in Victorian touring actresses
Contested vocabularies of birth violence
Rachelle Chadwick

This chapter focuses on the contested vocabularies used to name and conceptualise birth violence across a range of geopolitical contexts. Over the last few decades, several terms have been used to refer to the violations birthers experience during childbirth in healthcare facilities, including: childbirth abuse, mistreatment, disrespectful care, and birth rape. More recently, ‘obstetric violence’ has emerged as a term used in current debates and activist struggles. The chapter traces the contextual politics of vocabularies about birth violence

in Birth controlled
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Gender and Doctor Who Barbie dolls, adventure dolls, and 1:6 scale figures
Victoria L. Godwin

size or scale, ‘[i]f its detail is all sculpted and’ it includes a weapon, ‘it’s an action figure aimed at boys. If it has rooted hair and cloth clothes, it’s a doll aimed at girls’ (Thompson, 2017 : n.p.). Barbie, G.I. Joe, and Action Man illustrate that the current situation with Doctor Who is not the first time that names for posable toys have expressed such tensions. The variety in descriptive terms (doll, adventure doll, 1:6 scale figure) for thirteenth Doctor toys of similar size and degree of articulation

in Doctor Who – New Dawn
C. E. Beneš

Here follows part three , which discusses how Genoa ( Janua 1 ) came to be called by that name. This part has four chapters: the first chapter presents the opinion of those who say that it was named Janua firstly after the Janus who built it , and secondly after the Janus who enlarged it. The second

in Jacopo Da Varagine’s Chronicle of the city of Genoa
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

 175 10 NAMING, SHAMING, FRAMING? The ambivalence of queer visibility in audio-​visual archives* Dag m ar  Brunow T his chapter looks at the dynamics of visibility and vulnerability in audio-​ visual heritage. It analyses how film archives in Sweden and the UK, following their diversity policies, address and mobilise the notion of queer, recognising and making visible queer lives, history and cinema, and how they negotiate the risks of increased visibility. In this approach, the archive is positioned as an object of analysis, shifting the focus on the archive

in The power of vulnerability
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James S. Williams

those where he adapted material or provided dialogues: Ruy Blas (1947) directed by Pierre Billon, Les Enfants terribles (1950) by Jean-Pierre Melville (inspired by Cocteau’s 1929 novel of the same name), La Princesse de Clèves (1960) by Jean Delannoy, and Thomas l’imposteur (1965), by Georges Franju, made after Cocteau’s death. Also included in this list are texts and commentaries for Jiri Trnka’s The Emperor

in Jean Cocteau
Shakespeare, Harington and onomastic scatology
Peter J. Smith

I William Camden’s encyclopaedic tour de force, Britannia, was published in Latin in 1586. In his scrapbook supplement to the volume, Remaines of a Greater Worke, Concerning Britaine (1605), he devotes no fewer than five separate chapters to naming and nomenclature. In his explanation of naming, which precedes dictionary definitions of

in Between two stools
Republicanism,exclusion, and the name of king in Nathaniel Lee’s Lucius Junius Brutus
Lisanna Calvi

309 Chapter 15 ‘The Name of King will light upon a Tarquin’: republicanism, exclusion, and the name of king in Nathaniel Lee’s Lucius Junius Brutus Lisanna Calvi A s Odai Johnson had it in an article on Nahum Tate’s Richard the Second, ‘[t]‌here’s little cryptic about Lee’s treatment of the expulsion of tyrants’.1 Indeed, Lee’s Lucius Junius Brutus: Father of His Country, first performed in 1680, exclusively revolves around the ousting of Rome’s last king, Tarquinius the Proud, and the rise of a republican regime, led by Lucius Junius Brutus. The premiere of

in From Republic to Restoration
Black Queer Feminism and the Sexual Politics of Another Country
Matty Hemming

This essay explores Black queer feminist readings of the sexual politics of James Baldwin’s Another Country. Recent work at the intersection of queer of color critique and Black feminism allows us to newly appreciate Baldwin’s prescient theorization of the workings of racialized and gendered power within the erotic. Previous interpretations of Another Country have focused on what is perceived as a liberal idealization of white gay male intimacy. I argue that this approach requires a selective reading of the novel that occludes its more complex portrayal of a web of racially fraught, power-stricken, and often violent sexual relationships. When we de-prioritize white gay male eroticism and pursue analyses of a broader range of erotic scenes, a different vision of Baldwin’s sexual imaginary emerges. I argue that far from idealizing, Another Country presents sex within a racist, homophobic, and sexist world to be a messy terrain of pleasure, pain, and political urgency. An unsettling vision, to be sure, but one that, if we as readers are to seek more equitable erotic imaginaries, must be reckoned with.

James Baldwin Review