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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.

Sarah Brophy

9 Queer histories and postcolonial intimacies in Alan Hollinghurst’s The Line of Beauty Sarah Brophy Funny how mere living in a house like this could have the look of a burglary.  (Alan Hollinghurst, The Line of Beauty, 2004) Heritage, home and spatial infiltration Alan Hollinghurst’s The Line of Beauty (2004) de-familiarises a decade which, from the rise of neo-liberalism to the politicisation of gay identity in the context of AIDS, ‘seems to have determined so many things about the way we live now’.1 That the novel’s retrospective account of the 1980s

in End of empire and the English novel since 1945
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Derek Jarman’s life-writing

Luminous presence: Derek Jarman's life-writing is the first book to analyse the prolific writing of queer icon Derek Jarman. He blended visionary queer politics with experimental self-representation and consistently created art with material drawn from his own life, using it as a generative activist force. Although he is well known for his avant-garde filmmaking, his garden and his AIDS activism, he is also the author of over a dozen books, many of which are autobiographical. Much of Jarmanʹs exploration of post-war queer identity and imaginative response to HIV/AIDS can be found in his books, such as the lyrical AIDS diaries Modern Nature and Smiling in Slow Motion, the associative book of colour Chroma, the critique of homophobia At Your Own Risk, and the activist text published alongside the film Edward II. The remarkable range and depth of his writing has yet to be fully explored by critics. Luminous Presence fills this gap. Spanning his career, Alexandra Parsons shows that Jarman’s self-reflexive response to the HIV/AIDS crisis was critical in changing the cultural terms of queer representation from the 1980s onwards. She reads Jarman's self-representations across his literary and visual works as a queer utopian project that places emphasis not on the finished product, but on the process of its production. Luminous Presence examines Jarmanʹs books in broadly chronological order so as to tell the story of his developing experimentation with self-representation. The book is aimed at students, scholars and general readers interested in queer history, literature, art and film.

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Queer theory, literature and the politics of sameness
Author: Ben Nichols

In its contributions to the study of material social differences, queer theoretical writing has mostly assumed that any ideas which embody 'difference' are valuable. More than this, where it is invoked in contemporary theory, queerness is often imagined as synonymous with difference itself. This book uncovers an alternative history in queer cultural representation. Through engagement with works from a range of queer literary genres from across the long twentieth century – fin-de-siècle aestheticism, feminist speculative fiction, lesbian middle-brow writing, and the tradition of the stud file – the book elucidates a number of formal and thematic attachments to ideas that have been denigrated in queer theory for their embodiment of sameness: uselessness, normativity, reproduction and reductionism. Exploring attachments to these ideas in queer culture is also the occasion for a broader theoretical intervention: Same Old suggests, counterintuitively, that the aversion they inspire may be of a piece with how homosexuality has been denigrated in the modern West as a misguided orientation towards sameness. Combining queer cultural and literary history, sensitive close readings and detailed genealogies of theoretical concepts, Same Old encourages a fundamental rethinking of some of the defining positions in queer thought.

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British queer history
Brian Lewis

-ageist, antiablist, anti-sizeist, pro-feminist and sex-positive orientation. 7 This collection of essays starts from the premise that, in spite of its problems and limitations, queer is indeed a useful category of analysis for students of modern British history and sexuality, both as a big-tent term and because it builds on a body of recent scholarship that differs in significant ways from the pioneering gay and lesbian history of the 1970s. But, like the 2010 conference on ‘British Queer History’ at McGill University from which it arises, it avoids prescription, imposes

in British queer history
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Art, dance, and queer embodiment in 1960s New York

Horizontal together tells a dancerly story of 1960s art and queer culture in New York through the overlapping circles of Andy Warhol, underground filmmaker Jack Smith, and experimental dance star Fred Herko. In a pioneering look at this intersecting cultural milieu, Horizontal together uses a unique methodology drawing on dance studies, the analysis of movement, deportment, and gestures, as well as queer theory not only to look anew at familiar artists and artworks, but also to bring to light queer artistic figures’ key cultural contributions to the 1960s New York art world. Starting with the analysis of the artists’ own bodies, the book moves to draw out the meaning—and political and cultural power—of the languorous, recumbent male body that is prevalent in the art of the 1960s, yet never analyzed. The latter part of the book demonstrates how dance culture and history forge an underlying formative context for queer artists—Warhol through his collaboration with contemporaneous dance figures such as Herko, and Smith through his channeling of the early twentieth-century choreographer Ruth St. Denis. Building on these points of contact, the book also rethinks the history of 1960s dance, providing space for queer bodies and their new form of “virtuosity” to shine.

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The social and the sexual in interwar Britain
Matt Houlbrook

historiographies of sexuality developed in her Disturbing Practices: History, Sexuality, and Women’s Experience of Modern War. Doan’s starting point is Lee Edelman’s claim that ‘Queerness can never define an identity: it can only disturb one’. Building on this proposition, she foregrounds the analytic distinction between ‘queerness-as-being’ and ‘queerness-as-method’ to sketch out the possibilities of a ‘critical queer history of sexuality’ in reorienting our understanding of past subjectivities and behaviours. 1 Rather than rehearse Doan’s theoretical and historiographical

in British queer history

This book explores the history of postwar England during the end of empire through a reading of novels which appeared at the time. Several genres are discussed, including the family saga, travel writing, detective fiction and popular romances. In the mid 1950s, Montagu Slater's brief essay in Arena is the first of a group of contributions, with the authors' warning of a growing American monopoly in cultural expression. Agatha Christie, Dorothy L. Sayers and Josephine Tey are now the best remembered representatives of the distaff side of Britain's Golden Age of crime fiction which extended well into the early postwar period. The book focuses on the reception of John Masters' novels, the sequence of novels known as the 'Savage family saga'. William Golding's 'human condition' is very much an English condition, diagnosed amid the historical upheavals of the mid-twentieth century. Popular romance novels were read by thousands throughout Britain and across the world, and can be understood as a constituent element in a postwar colonial discourse. William Boyd's fiction displays a marked alertness to the repercussions of fading imperial grandeur; his A Good Man in Africa, explores the comic possibilities of Kinjanja, a fictional country based on Nigeria. Penelope Lively's tangential approach to writing about empire in Moon Tiger suggests ambivalence and uncertainty about how to represent a colonial past which is both recent and firmly entrenched in ideas of national identity.

An introduction
Joanne Begiato

This introduction offers a rich overview of the scholarship on the histories of the body, emotions, and material culture as they relate to gender. It explains how Manliness in Britain develops this work to understand how bodies, emotions, and materiality helped construct masculinities in the long nineteenth century. It shows that a queer history approach, combined with theories of emotional bodies and emotional objects, offers a new way to think about manliness and unmanliness. The introduction is divided into three sections. It summarises histories relating to ‘being’ a man, focusing on the embodied qualities of manliness and on self-control, the primary means by which men were supposed to achieve idealised manly behaviour. It then assesses the scholarship relating to three domains in which manliness was understood to be performed and tested: war, home, and work.

in Manliness in Britain, 1760–1900
Male bodies and manliness
Joanne Begiato

This chapter reveals how manliness was conveyed through beautiful, virile, male bodies. Such appealing male figures and faces were associated with positive emotions that were coded as both manly and moral. This chapter explores their changing forms over time, shaped by modernity, sport, anthropometry, and physiognomy, but also addresses the role of male beauty in disseminating ideals of manliness. It takes a queer history approach which deliberately makes strange the conjunction between physical beauty and masculine values. It rejects assumptions about normative masculinities and how they were created and circulated and instead adopts the techniques of scholarship that queers sexual constructions. Overall, it proposes that beautiful male forms and appearances were intended to arouse desire for the gender that these bodies bore. This nuances our understanding of the gaze. It shows that the idealised manly body was active, since it was an agent of prized gender values. Yet it was also passive, as the erotic object of a female and male desirous gaze, and subordinate, for although some of the descriptions of idealised male bodies in this chapter were elite, many manly and unmanly bodies were those of white working-class men.

in Manliness in Britain, 1760–1900