14 On the function of ‘healing’ statues Campbell Price I first encountered the work of Rosalie David when, aged five or six, I borrowed a book entitled Mysteries of the Mummies from my local library. The book drew largely on work done by the Manchester Museum Mummy Project, and proved instrumental in confirming my nascent interest in ancient Egypt. Little did I realise then that one day I would inherit from Rosalie, a fellow Liverpool University alumnus, the stewardship of the Manchester Museum’s exceptional Egyptology collections. It is therefore a special

in Mummies, magic and medicine in ancient Egypt

This article considers the allusions to classical statuary in Matthew G. Lewis’s novel The Monk (1796) and his Journal of a West India Proprietor Kept during a Residence in the Island of Jamaica (1816). Drawing on John Barrell’s account of civic discourse on the fine arts after Shaftesbury, I explain and contextualise the centrality of the Venus de’ Medici statue to Lewis’s representations of male desire and male virtue. Images of Venus, both in The Monk and in the Journal, function as tests of civic virtue and articulate the conditions of Lewis’s entitlement to hold and govern slaves in Jamaica. Lewis’s colonial inheritance underpins the narratives of desire in The Monk, and inflects his authorship more generally.

Gothic Studies
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A Recombinant Pygmalion for the Twenty-First Century

As a gothic iteration of Ovid‘s Pygmalion myth, the television show ‘Dark Angel’ demonstrates how anxiety over the laboratory creation of people persists in popular culture. The paper looks through the lenses of media representation of cloning, complexity theory‘s trope of iteration, and gothic literary criticism, first to analyze Dark Angels heroine as a gothic version of Pygmalion‘s statue. It goes on to explore some of the implications of rewriting sculptor/lover Pygmalion into Dark Angels Donald Lydecker and Logan Cale, before examining the first season in its entirety. The analysis ends on a short exploration of some interactions between the show and the popular culture that produces and consumes it.

Gothic Studies
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The study of film as art-form and (to a lesser extent) as industry, has become a popular and widespread element of French Studies, and French cinema has acquired an important place within Film Studies. The adoption of a director-based approach raises questions about auteurism. This book aims to provide informative and original English-language studies of established figures, and to extend the range of French directors known to anglophone students of cinema. Chris Marker began his career as a writer. He entered filmmaking in the first instance as a writer. His finely tuned skills in this capacity are evidenced from the outset in the richness and beauty of his poetic commentaries. The first decade of Marker's filmmaking career encompasses what Chris Darke terms the 'lost period' of his oeuvre. He co-directed one film with Alain Resnais (Les Statues meurent aussi) and directed five of his own (Olympia 52; Dimanche à Pékin; Lettre de Sibérie; Description d'un combat; and Cuba Si!). Marker's idiosyncratic documentaries reassess what the term 'documentary' means. Two key essayist interventions, Lettre de Sibérie and especially Sans Soleil, have earned him a stellar reputation in the manipulation of this personalised form. The rethinking of filmic time and alternative lives in his many and varied works is enabled, rather than blocked, by an engagement with death and stasis. There is certainly something of this in Marker's oeuvre, which aches at times for what was and what could have been.

Portraiture, caricature and visual culture in Britain, c. 1830–80

This book examines the role of political likenesses in a half-century that was crucial for the political modernisation of Britain, a two-party system that began to take shape and politicians became increasingly accountable and responsive to public opinion. Political language, especially electoral rhetoric, has been accorded considerable weight by recent studies in building broad coalitions of political support in popular and electoral politics. The book studies political likenesses, the key mode of visual politics at this time, as part of a nuanced analysis of contemporary political culture and the nature of the representative system. It examines a diverse range of material including woven silk portraiture, oil paintings, numismatics and medals, banners, ceramics, statuary and memorials as well as items printed on paper or card. After an analysis of the visual culture spawned by the reform bills of 1831-1832, the book shows how Conservative and Liberal/Reformer identities were visualised through semi-official series of portrait prints. The pictorial press, photographs and portrait testimonials, statues and memorials, MPs were venerated as independent representatives and champions of particular localities, trades, interests or issues, and not party hacks. Depictions of Lord Palmerston and his rivals, including Lord John Russell and Lord Derby, in the 1850s and 1860s often underplayed in pictorial representations to emphasise physical and political vigour. The role of political portraits and cartoons in the decade after the passing of the 1867 Representation of the People Act is also discussed.

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A man they love to hate. The first Governor General of the Dutch East Indies as an imperial site of memory

On 30 May 1893, a large crowd gathered in the Roode Steen, the square in the centre of Hoorn, a sleepy fishing town on the Zuiderzee. People had assembled to witness the unveiling of the statue of Jan Pietersz Coen, the first Governor General of the Dutch East Indies. The initiative to erect a statue had been launched five years earlier, in the run-up to the

in Sites of imperial memory
The equestrian statue of the Duce at the Littoriale Stadium in Bologna

12 Mussolini as monument: the equestrian statue of the Duce at the Littoriale Stadium in Bologna Simona Storchi In 1932, the art critic Francesco Sapori observed in a richly illustrated article on Mussolini’s portraits that, by then, the portraits numbered thousands; they were made in all shapes and styles, and used all the available techniques and media.1 According to Sapori, the artists’ fascination with portraying the Duce was motivated by the desire to have a close encounter with a man of great charisma and power, and to experience the chance to capture and

in The cult of the Duce
The unknowable image in The Winter’s Tale

Shakespeare’s The Winter’s Tale presents one of the most famous depictions of a patron of the visual arts in early modern English drama. In the penultimate scene of the play, we are told that the Sicilian courtier, Paulina, is in possession of a ‘statue’ of the dead Sicilian queen, Hermione (5.2.93). ‘Hearing of her mother’s statue’, Perdita, Hermione’s long

in Making and unmaking in early modern English drama
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Remembering and forgetting Sir Robert Peel

identities and memory. This 64 People, places and identities essay meets that literature at an obtuse angle, being concerned with a set of highly public yet largely overlooked images of Peel, namely the public statues that were raised after his death.3 These are used, in particular those in the north of England, to explore the processes involved in the commemorating, remembering and, equally important, the forgetting of the second Sir Robert Peel. Historians are in general agreement that the unexpected death of Peel in July 1850 created a mood of widespread public

in People, places and identities
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Orpheus and Pygmalion

female corpses and statues. Perhaps the most memorable examples in each category, corpse bride and living statue, are Eurydice and Galatea, 9 in particular the versions offered us by Ovid in his Metamorphoses . Although Ovid did not create either tale he was almost certainly the first to associate them together; he does this by making Orpheus himself the narrator of Pygmalion’s story. Over the course of the two

in A familiar compound ghost