bluuebunny/crossref_metadata_2025 huggingface dataset:
Opera in Nineteenth-Century Italian Fiction: Reading ‘Senso’
Authors: Newark Cormac
Published: May 2022

Literary tropes of Italian political (i.e. Risorgimento) reception of opera are read through Camillo Boito’s short story ‘Senso’ (1880), its single reference to opera (the composer Giacomo Meyerbeer), and its film adaptation by Luchino Visconti (1954, featuring music by Giuseppe Verdi instead). The chapter shows opera as highly contested territory then and now, a synecdoche of wider issues of mixed, and changing, cultural identity. In Boito (if not in Visconti), opera has something to contribute to our understanding of Italian history not because of its having been co-opted in the cause of straightforward narratives of the nation, but rather because of its own historical and (inter-)national discontinuities.
Stendhal at La Scala: The Birth of Musical Fandom
Authors: Wood Gillen D’Arcy
Published: May 2022

Stendhal pioneered Romantic musical biography (including the seminal Vie de Rossini [1822]) and music criticism, documenting the tumultuous transitions in operatic taste and politics in the first decades of the nineteenth century. Following Rousseau, he declared French an unmusical language, and his compatriots the ‘least musical race on earth’. In Italy, by contrast, music was the ‘sole living art’, where the natives lived according to a regime of the passions unknown to rational northern Europeans. For much of his lifetime, Stendhal was better known to his contemporaries as a controversial music critic than for the novels for which he earned enduring posthumous fame, Le Rouge et le Noir (1830) and La Chartreuse de Parme (1839). The latter in particular bears a strong imprint of Stendhal’s lifelong passion for music, with key scenes taking place at the opera.
George Eliot, Schubert and the Cosmopolitan Music of D ANIEL D ERONDA
Authors: Sousa Correa Delia da
Published: May 2022

George Eliot’s allusions to the music of Franz Schubert in Daniel Deronda (1876) are significant for the novel’s cosmopolitan reach. Schubert, along with Liszt, Mendelssohn and, implicitly, Wagner and Anton Rubinstein, forms a point of comparison to indicate the stature of the cosmopolitan musical maestro Julius Klesmer.
In addition, Schubert’s music, associated with Deronda himself and sung by the novel’s Jewish heroine Mirah, helps to valorise their future Zionist mission. Eliot’s allusions to this composer, often described as feminine in the decades following his death, illuminate her subtle negotiations of issues of gender in her writing. Placed in the context of her comments in letters and review essays, they also indicate that she held the originality of his music in the highest regard at a time when Schubert was frequently regarded as predominantly the creator of minor works suitable for domestic performance.
Thus allusions to Schubert contribute to the minutely interconnected and highly musicalised world of Eliot’s novel, and Daniel Deronda, in turn, contributes to the reception of Schubert’s music.
Music in Proust: The Evolution of an Idea
Authors: Breatnach Mary
Published: May 2022

Proust said that music runs ‘like a golden thread’ through À la recherche du temps perdu. Wagner occupies a particular position in the novel, reflecting both Proust’s personal position as a committed Wagnerian and the importance of Wagner’s aesthetic and theoretical ideas in literary thought of the period. However, the pieces that readers most associate with the novel are fictional ones: Vinteuil’s sonata for piano and violin, and his septet. They are catalysts for the philosophical, aesthetic and psychological explorations that make the work what it is.
In many respects, Proust’s narrator is a fictional exponent of the musico-literary aesthetic launched by Baudelaire and developed by Mallarmé. Proust clearly shared their conviction that the creation of great literature is intrinsically linked to an individual yet universal response to music. But for Proust the abstract character of music serves as a means to reveal the nature of art in general and literature in particular. Central to his enterprise is the creation of a character whose sensitivity to music is coupled with a capacity to describe in great detail the effect of listening on his mind.
Jean Rhys and the Politics of Sound
Authors: Snaith Anna
Published: May 2022

Sound is everywhere in Jean Rhys’s work: from the acousmatic sounds of crowded and transitory living, to the transcription of popular song lyrics, to the politics of sonic regulation. Her writing attends to the racial and gendered politics of sound, particularly at those moments when sound becomes noise. This chapter considers the musical references in ‘Let Them Call It Jazz’ and Voyage in the Dark in the context of their wider sonic environment to argue that the politics of sound are central to Rhys’s modernism, particularly in its engagement with colonialism and slavery.
Auden’s Imaginary Song
Authors: Coombes T. F.
Published: May 2022

This chapter considers music’s role in W. H. Auden’s poetic practice. One of his ‘case-history ballads’ of 1937, ‘Miss Gee’, serves as a limiting case for examining a compositional process to which Auden regularly referred in his prose reflections on the act of writing. The ballad was ‘sung into being’ to a popular song, a process which directly produced some of the poem’s rhythmic idiosyncrasies. Through a tentative reconstruction of that process, the chapter aims to elucidate from a musicological perspective the idea of Auden as a ‘musical’ poet.
Music and Contemporary Poetry: Audience, Apology and Silence
Authors: May Will
Published: May 2022

This chapter considers the relationship between music and contemporary poetry in the UK. It explores works by Paul Muldoon and Kate Tempest, considers the increasing importance of poetry in performing arts festivals, and notes the musical scepticism of Geoffrey Hill. It considers the musical reading and listening relationship outlined in Fiona Sampson’s work, and offers a close listening of Lavinia Greenlaw’s poem ‘Silent Disco’.
Tippett, Eliot and Madame Sosostris 1
Authors: Soden Oliver
Published: May 2022

The origins of Sosostris in Tippett’s opera The Midsummer Marriage (1946–52) are traced back to a passage in Aldous Huxley’s Crome Yellow (1921) in which a character disguised himself as ‘Madame Sesostris, Sorceress of Ecabatana’. In between is Madame Sosostris, the ‘famous clairvoyante’ of T. S. Eliot’s The Waste Land (1922).
Tippett, on Eliot’s advice, had written his own libretti for The Midsummer Marriage and all his subsequent operas, later writing that ‘echoes of [Eliot’s] prosody sound in everything I have written for myself to set to music’.
In a parallel to Eliot’s harnessing of the post-war vogue for spiritualism in order to communicate with the dead, the opera’s business tycoon, King Fisher (another allusion to The Waste Land), consults the clairvoyante in order to find his disappeared daughter. Tippett’s Sosostris has been described as a genuine oracle, in contrast to Eliot’s, but to regard the dialogue between The Waste Land and The Midsummer Marriage as a simple case of Tippett’s having translated a fraud into a genuine seer is to miss the complexity and duality of Sosostris in each work.
Coda
Authors: Montgomery Will
Published: May 2022

This book is primarily intended as a historical study of a tendency in twentieth-century American poetry. (Armantrout’s writing, if not all of the poems by her that I discuss, begins in the last century too, though her works speaks forcefully to the present.) I have made an argument about one of the ways in which poets of the modernist line thought with their poems. The particular kind of thinking I have been describing is embedded in habits of circumscription. The trajectory that this book has narrated begins more than a hundred years ago with a polemical desire to strip out rhetorical excess and return poetry to a more authentic version of itself. That version was characterised as having qualities of simplicity and directness, and the appeal to this new writing was underwritten by the authority of non-anglophone models: French, classical and oriental. This project of restitution was developed by Williams, a poet enamoured of both the French avant-garde and the polyglot energies lying beneath the surface of American vernacular speech. In Williams’s poetry, a form of writing emerges that aspires to self-sufficiency. If the poet thinks with their poem, the thinking the poem does is not external to the poem. Poetic form both shadows and gives shape to movements of thought....
Introduction
Authors: Williams Keith
Published: May 2022

Lays out the case that the cinematic tendency of Joyce’s writing developed from media predating film. It explains how Victorian culture’s emergent 'cinematicity' was a key creative driver of Joyce’s experimental fiction and details research methods and evidence for showing how his style and themes share the cinematograph’s roots in Victorian science and optical entertainment. It explicates how the book’s scope reveals and elucidates Joyce's references to optical toys, shadowgraphs, magic lanterns, panoramas, photographic analysis and film peepshows, which testify to his awareness of a moving image and projection culture before 1895, which film remediated. It also details how abundant close analysis in the following chapters will show how his techniques elaborated and critiqued their effects on modernity’s ‘media-cultural imaginary’; thus how Joyce’s writing could appear in advance of the narrative forms of early film itself. Consequently, the introduction provides detailed historicisation of Dublin’s visual culture during Joyce’s youth, as well as relevant optical science of the time, Dublin’s first film screenings and the context of his Volta Cinematograph.
Conclusion: Before and After Film
Authors: Williams Keith , Williams Keith
Published: May 2022

Summarises how the context of Victorian moving image media helps explain how Joyce’s literary cinematicity seemed ahead of screen practice itself to contemporary directors and theorists. It underlines how Joyce’s visual imagination was so profoundly shaped by the popular visual culture which projected film remediated that he achieved ‘ultracinematographic’ effects in his fiction. This accounts for Joyce’s extraordinary receptiveness when it finally arrived. Thus Joyce extended classical ekphrasis into the modernity of moving photographic images, broadcasting and telecommunications. The conclusion recapitulates the importance of addressing the deficit in Joycean scholarship about visual media before the cinematograph. Hence we can appreciate that Joyce’s Volta remains a significant landmark in the creation of cinema and its revolutionary impact, both in the popular media-cultural imaginary and the Modernist arts. It was more than a passing business opportunity, but bound up with Joyce’s creative fascination with optics and moving images which did not diminish after its demise, as his fiction testifies. The conclusion emphasises that to understand Joyce’s relationship with the evolution of cinematicity, we have to dig deeper into its role in his work both before, as well as after the coming of film.
From Shyamalan’s Unbreakable to Snyder’s Man of Steel : Comic-book Mythology on Screen and the Co-implication of Good and Evil
Authors: Peters Timothy D.
Published: May 2022

This Chapter is the first of two that examine pop culture’s replete dualities of Good and Evil and their relation to law. It brings together two readings of the superhero genre: the ‘legal’ reading, which sees the superhero as a necessary supplement to the law’s failure to achieve justice; and the ‘theological’ reading, emphasising the superhero as a Christological saviour figure. The chapter analyses the ‘visual realism’ of two key instances of the genre—M. Night Shyamalan’s Unbreakable (2000) and Zack Snyder’s Man of Steel (2013)—focusing on their presentation of the nature of Evil and the superhero’s response to it. In doing so, the ambiguities of the law’s relationship to Evil are highlighted: first, law is supposed to respond to Evil, restore order and determine the responsibility of the perpetrator, but it cannot explain the suffering of the victim; second, the law’s emphasis on a legal subject held responsible only for a ‘willed’ and ‘rational act’—the ‘positive’ account of Evil centred in the human will—is constantly at risk of failing to hold the subject responsible. In contrast, the Chapter makes a claim for the traditional and theological ‘negative’ understanding of Evil as privation.
The Force of/ as Modern Law: Justice, Order and the Secular Theology of Star Wars
Authors: Peters Timothy D.
Published: May 2022

Drawing upon the work of the late Peter Fitzpatrick, this Chapter continues the consideration of Good and Evil by reading George Lucas’s and Disney’s Star Wars films as representative of the interconnections between law and myth. It focuses on two key legal themes: law and violence (law’s violent relation to a fundamental chaos); and law and order (highlighted in the connection between the rule of law and its exception). The Chapter analyses ‘the Force’ as a form of secular theology that, like the mythic nature of law, operates as a mediation between transcendent sovereignty and immanent legality. It situates this analysis in the context of Michael Hardt and Antonio Negri’s critique of global capitalism and the call for a response by the democratic ‘multitude’. However, the Chapter’s reading of ‘the Force’ as representation of modern law demonstrates the risks of the immanence of modern legality in terms of its instrumentalisation as a tool for the production of order. Despite modern law no longer being inherently connected to an underlying notion of justice, it remains a secular legal theology because it requires a belief or faith in legality in light of its consistent failure to achieve order.
Escaping the Bureaucratisation of Destiny: Law, Theology and Freedom in George Nolfi’s The Adjustment Bureau
Authors: Peters Timothy D.
Published: May 2022

This Chapter continues the consideration of law and science fiction by analysing the central theme of George Nolfi’s 2011 film The Adjustment Bureau (based on Philip K Dick’s short story): a theological consideration of freedom and free will. In contrast to the modern dismissal of religion, the film is overtly theological in nature with the God-figure (‘the Chairman’) intervening in the world through his angels (bureaucrats) so as to ensure adherence to his providential order (‘the plan’). The Chapter traces the theological and jurisprudential roots of ‘the Chairman’, following John Milbank, to shifts in medieval theology from a participatory to nominalist and voluntarist ontology that became influential on the later jurisprudence and political theology of Thomas Hobbes. However, The Adjustment Bureau critiques the modern theology of will which undergirds both modern secular sovereignty and the liberal legal subject, by introducing the theme of ‘true love conquers all’, opening up a different consideration of law and sovereignty based on love and relationality, as opposed to legal individualism. The Chapter therefore extends the book’s consideration of a love beyond the law, by presenting a theological jurisprudence that opens the possibility of a relation to law based on love rather than will.
Left in the right way: corporate strategy and the making of a popular left-wing
Authors: Lee Vivian P.Y.
Published: May 2022

Apart from the 1967 anti-British riots and sporadic disturbances to the social and economic status quo caused by union strikes that preceded it, the most enduring battle was fought in the realm of culture. This chapter addresses questions of thematic importance to the present study: What does it mean to be the left, right, and middle of the film industry during the 1950s and 1960s? What was it like to be on the “left” side of the filmmaking world under the peculiar circumstances of the mini–Cold War? To what extent had the left -wing filmmakers established their own industrial apparatus that would allow them to compete with the major commercial (right-wing) studios in terms of financing, production, and popularity? How successful were these models? Th is chapter therefore is concerned with the left-wing film apparatus as a corporate entity and their strategic self-positioning in the competitive film market. “How left is the left?”— the concluding question of this chapter—attempts to bring into sharper focus the “middle ground” cultivated by cultural agents on both sides as an ad hoc backdoor to seek temporary relief from the tightrope of Cold War politics.
Class, gender, and modern womanhood: Feng Huang and Great Wall
Authors: Lee Vivian P.Y.
Published: May 2022

Feng Huang and Great Wall were major contenders from the left -wing cultural front for the Mandarin-language film market during the 1950s and 1960s. Competing against MP&GI and the Shaw Brothers, the two industry giants with close ties to the US and Taiwan and extensive industry networks in Southeast Asia, the left -wing studios were operating at a natural disadvantage in Hong Kong. This chapter revisits the left–right divide in Mandarin films through the lens of gender and class politics. It is concerned with the way in which a certain notion of modern womanhood is embedded in the cinematic imagination of modernity of both the progressive and “freedom” camps. Feng Huang and Great Wall films self-consciously, and discreetly, craft their counter-narratives of capitalist modernity through charismatic female characters in a variety of roles. As ideologically loaded image-texts, these female screen personae are constructs and embodiments of the cinematic discourse of modernity in which the politics of class and gender is personified in their charismatic female subjects.
From political alibis to creative incubators: the left-wing film network since the 1980s
Authors: Lee Vivian P.Y.
Published: May 2022

This chapter turns to another arena where the reconfigured left-wing film network mobilized its economic and institutional resources in cultivating a niche cinema that would have a lasting impact on Hong Kong’s arthouse cinema, which came of age with the arrival of the Hong Kong New Wave in the late 1970s. In an attempt to further diversify its output and discover new talents, the realigned left-wing film network extended horizontally through smaller satellite studios. From production strategies to partnership cultivation, one discerns a consistent effort in engaging younger filmmakers to incubate less commercially oriented projects inspired by local experience and perspectives. The discussion highlights some underarticulated subcurrents in the development of left-wing film production in the post–Cold War, post– Cultural Revolution era. A brief overview of satellite studios during the 1950s and 1960s serves as the immediate background to the developments since the late 1970s, when the left-wing film network entered a more experimental stage in terms of talent-grooming and creative incubation.
The Slave Trade
Authors: Alston David
Published: May 2022

An account of the involvement of Highland Scots in the trading of Africans into and within the colonies of the Caribbean and the Americas. The chapter describes the slave trade in its full and proper sense – beginning with kidnap, continuing in the conversion of human beings into commodities, and extending to all parts of the plantation economies within, and beyond, British control. Wherever people were enslaved, they were traded. From the millions of personal histories, mostly lost, this chapter ends with what can be recovered of the life of one man – a slave called Inverness.
A Family of Highland Carpenters in the Ceded Islands
Authors: Alston David
Published: May 2022

Explores the fortunes of one extended family from a relatively modest background in Inverness, the Frasers of Boblainy. They became carpenters and slave-owners in Grenada and Tobago – and also in St Vincent where they benefitted, with other northern Scots, from the suppression and ‘ethnic cleansing’ of the indigenous Black Caribs.
Guyana–A Last Frontier
Authors: Alston David
Published: May 2022

Describes the early involvement of northern Scots in Demerara, while it was still a Dutch colony, and the subsequent enthusiasm of Highland Scots to be part of the exploitation of land and people when Britain seized the three colonies in 1796. These subsequently became some of the most Scottish of the Caribbean colonies – and Berbice, on some measures, the most Highland.
Guyana–The Merchant Houses
Authors: Alston David
Published: May 2022

Since it was in Guyana (and Trinidad) – less so than in the older colonies – that fortunes continued to be made up to and beyond the end of British colonial slavery, it was here that the most powerful West India merchant houses flourished. This chapter explores the Scottish – and surprisingly Highland – origins of the two largest slave-holding partnerships at emancipation. This also carries the account forward to the end of British colonial slavery in 1838 and into the era of indentured Indian labour, pioneered in Guyana as a replacement for enslaved labour.
Enslaved Blacks and Black Servants
Authors: Alston David
Published: May 2022

The ‘Black History’ of Northern Scotland – the presence in the Highlands and the North-east of enslaved black people and free black servants. This includes an account of Black people in Scottish portraits, the life of Welcome, an enslaved man brought to Elgin, and Scotland’s last slave-born servant, Petronella who was born in slavery in Suriname.
Children of Colour
Authors: Alston David
Published: May 2022

The ‘Black History’ of Northern Scotland – the children of Scots and both enslaved and ‘free coloured’ women. This includes accounts of children of mixed race at schools in Scotland and the growth of systematic racism in the mid-nineteenth century. Individual studies include those who were able to pass as white, young women who were vulnerable to exploitation and abuse, and some who turned to radical politics – including the revolutionary William Davidson.
‘It is always easier to remember victims than to cope with the difficult issue of perpetrators’
Authors: Alston David
Published: May 2022

This chapter considers the responsibilities which arise in Scotland from this history, including the question of reparations for slavery. The case is made that we should reject the individualistic ethics of the Scottish Enlightenment and accept that we have responsibilities which arise from our common past.
Introduction
Authors: Long Christian B.
Published: May 2022

This chapter offers a brief Brooks biography, then moves to his start in show business as a stand-up comic to begin to identify the ideas and concerns that appear in his work. Then it transitions to his for-hire work acting and performing voiceover on television and in film, further developing what an Albert Brooks appearance tends to signify. Then it draws these threads together by working through the films he wrote and directed as an auteur. It suggests that an intertextual framing perspective—what we might call “Brooks tropes”—consistently appear throughout his films, from his debut feature Real Life(1979) to his last film as a writer-director, Looking for Comedy in the Muslim World(2005). This chapter establishes the general outlines of the public persona of “Albert Brooks,” which infuses a paradoxical approach to comedy – one we might describe as coyly subversive and conservatively radical – that undergirds the cultural significance of Brooks as a persona, a filmmaker, performer, and symptomatic cultural figure.
When Success is Failure
Authors: Long Christian B.
Published: May 2022

This chapter uses an auteurist approach to read Albert Brooks’ films as investigations of the rhetoric of success, turning every win into a loss, rendering every success a kind of failure and vice versa, offering extended attention to specific films to offer in-depth analyses of the forms that success and failure take in Brooks’ films and the ways the two blur into each other.
Introduction
Authors: Jung Berenike
Published: May 2022

The introduction offers an overview of seminal films and writing about pain, violence and torture on film. Pointing to the limitations of a solely representation-centred approach, the chapter expands the scope and understanding of what might count as a film ‘about’ torture.
To explore the primary research ethical questions as to how fiction and nonfiction film shows an abject event such as torture, key scholarly literature and methodology are set up, in particular contributions from memory studies, affective film theory, Latin American Studies
Negotiating Evidence
Authors: Jung Berenike
Published: May 2022

This chapter discusses the changing status of the image in relation to the infamous digital photographs of torture that emerged from Abu Ghraib, and their exploration in Standard Operating Procedure (Errol Morris, 2008).
Both this film and the director’s subsequent The Unknown Known (Errol Morris, 2013) investigate the ways in which media create and shape our perception of the event ‘torture at Abu Ghraib’ and the role played by language in this process.
The Presence of Absence in Contemporary Chilean Cinema
Authors: Jung Berenike
Published: May 2022

Building on the affective turn in memory and film scholarship, including work by Laura Marks, Davina Quinlivan and Sara Ahmed, and on Latin American scholars such as Macarena Gómez-Barris, Nelly Richard, Carolina Urrutia, Miriam Haddu and Joanna Page, this chapter analyses how some films among the so-called New Chilean cinema are able to translate perpetrator experiences as well as dictatorship and post-dictatorship repercussions that appear invisible and intangible. The toxic impact on social relations or a process of erasing historical traces are rendered perceivable in films through sound and other sensual modalities in films such as Pena de Muerte / [Death Penalty] (Tevo Díaz, 2012) and Carne de Perro / Dogflesh (Fernando Guzzoni, 2012).
These films activate spectators’ affective responses, both in relation to historical lineage with post-traumatic melancholy, and to contemporary alienation in a neoliberal society.
Hounds of Love
Authors: Mann Craig Ian
Published: May 2022

Chapter 4 concentrates on a cycle of European werewolf pictures that arose during the early 1960s and came to an end in the late 1970s, beginning with Hammer's The Curse of the Werewolf (1961). It argues that this cycle is deeply concerned with the consequences, both positive and negative, of the sexual revolution. It discusses this theme first through Britain's The Curse of the Werewolf and Legend of the Werewolf (1975), then Italy's Werewolf in a Girl's Dormitory (1961) and Werewolf Woman (1976), and finally a series of Spanish pictures starring Paul Naschy as Waldemar Daninsky, a man whose tragic werewolfism can only be cured by true love. It posits that all of these films use the monster to allegorise an era in which social `rapidly and radically.
What Big Teeth You Have
Authors: Mann Craig Ian
Published: May 2022

Chapter 5 covers the werewolf film’s resurgence in American horror cinema of the early 1980s. It begins by contextualising the developments that led to the werewolf's newfound popularity: advancements in special effects and the birth of ‘body horror’, both of which led to a sudden emphasis on visceral transformation scenes and a newly forged connection between sex, disease and werewolfism. It then discusses The Howling (1981) and An American Werewolf in London (1981) as the first ‘new werewolf’ films, and analyses how they negotiate popular perceptions of physical and mental illness during the 1980s. Finally, it moves on to analyse a thematic preoccupation with sex and bodily destruction in several other transformation narratives throughout the decade.
The Better to Eat You With
Authors: Mann Craig Ian
Published: May 2022

Chapter 6 analyses several films made under Ronald Reagan’s presidency that use the werewolf to criticise his administration’s social conservatism, religious moralism and regressive gender politics. It begins with a discussion of Silver Bullet (1985). A scathingly satirical film, Silver Bullet squarely takes aim at Reagan through its villain – a pious man of faith who turns into a bloodthirsty werewolf by moonlight – and a fractured community that tears itself apart. It then analyses a number of other films that critique Reagan’s vision of family and community, chiefly the horror-comedy My Mom’s a Werewolf (1989), in which a bored housewife is liberated by her werewolfism as she rebels against patriarchy. It concludes with an exploration Full Moon High (1981), Teen Wolf (1985) and Teen Wolf Too (1987), three films that attack Reagan's rhetoric through their teenage werewolves.
Shapeshifters
Authors: Mann Craig Ian
Published: May 2022

Chapter 8 discusses the significant and global proliferation of werewolf films in the twenty-first century, and analyses their pervading and often transnational themes. It begins by tracing the dominant thematic preoccupations of 1990s werewolf movies into the 2000s, before coming to concentrate on a transnational cycle of she-wolf films that has arisen in the wake of fourth-wave feminism and the rise of the Me Too movement, including Denmark's When Animals Dream (2014), Canada's Female Werewolf (2015) and America's Wildling (2018). It then discusses a number of werewolf films concerned with the consequences of the Great Recession and resurgent fiscal and social conservatism in the Western world, including the American Late Phases (2014), the Canadian WolfCop (2014) and the British Howl (2015).
Who’s Afraid of the Big Bad Wolf ?
Authors: Mann Craig Ian
Published: May 2022

The final chapter concludes Phases of the Moon and reflects on the monograph's findings, bringing together thematic links between werewolf films produced across several decades. In doing so, it aims to illuminate the monster's most frequent thematic preoccupations between the silent era and the present day. It also assesses the current state of scholarly approaches to the werewolf film and surveys those works that have attempted to erode the primacy of 'the beast within', both within and beyond the field of film studies. Finally, it suggests several areas for further study, with the aim of encouraging future scholarship and enriching our understanding of the werewolf's cultural significance both in horror media and wider popular culture.
Introduction: Cross-Channel (Transmanche) Modernisms
Authors: Davison Claire , Goldman Jane , Ryan Derek
Published: May 2022

What better place to start than midway, in extracts from letters exchanged before and after a cross-Channel expedition?

To Vita Sackville-West

Rodmell Saturday 8 September [1928] Concentrate your mind upon this, and give me your answer. Suppose we start (you and I and Potto) on Saturday 22nd. Sleep in Paris. Get to SAULIEU on Monday … Do you want to go 2nd or 1st (I insist on 1st on the boat) If first is much more comfortable, first is advisable. Not otherwise; because first class travellers are always old fat testy and smell of eau de cologne, which makes me sick. (...
Impressions of Translation: Ford Madox Ford’s Cosmopolitan Literary Crossings
Authors: Davison Claire
Published: May 2022

The Channel crossings in Ford’s family history are complex. During the war, he wrote propaganda books triangulating English, French and German culture. After returning from the Western Front, he emigrated to France. His formative collaboration with Joseph Conrad instilled an ideal of the conscious artistry of French fiction (exemplified by Stendhal, Flaubert, and Maupassant). Ford was delighted when The Good Soldier was described as ‘the finest French novel in the English language’. His own work bears out his injunction to translate English sentences into French and then back into English as a means of clarifying and purifying them.
However, Anglo-French crossings are only part of Ford’s story. The trans-Manche for him was always overlaid with the transatlantic. This is evident in the magazines he edited: the English Review, which published Tolstoy, James, and President Taft; and the transatlantic review, which was published in New York as well as London and Paris, and which increasingly gave space to the American expatriates in Paris. Ford’s cultural internationalism – his belief in a ‘Republic of Letters’ – foreshadows recent discussions of 'world literature' – nowhere more so than in his last and immense comparative study The March of Literature (1938).
Interlude: Fashioning
Authors: Davison Claire
Published: May 2022

The language of fashion is a Channel-crossing adventure in itself, which begins in the life of words as they dart back and forth, ferrying new meanings en route, losing part of the etymological body they started out with, and picking up new accoutrements along the way. Think of the word ‘fashion’ derived from the old French ‘façon’ meaning craft, workmanship, especially in the field or workshop. The sense lingers on in the English verb ‘to fashion’ and in its French counterpart ‘façonner’; the noun ‘fashion’, like the adjective ‘fashionable’, on the other hand, are translated ‘mode’, ‘à la mode’ – indeed the idiom also works well in English, so long as it is pronounced with a slight French accent. The same is true of the term ‘haute couture’ – the guarantee of style, taste and expertise either side of the Channel; in French, however, the word still flaunts its temporal inflections in a way it doesn’t in English – ‘couture’ (‘sewing’) bespeaks the essential craftsmanship of the garment; it exposes the seams and threads with which those first seamstresses (‘couturières’) at the Court of Versailles first earned their own guild in 1675 (see ...
Cross-Channel Modernisms and the Vicissitudes of a Laughing Torso: Nina Hamnett, Artist, Bohemian and Writer in London and Paris
Authors: Goldman Jane
Published: May 2022

Laughing Torso (1932), the memoir of Nina Hamnett (1890-1956), recounts her notorious cross-channel vicissitudes as a struggling artist in the 1910s and 1920s in bohemian London and Paris. This chapter will explore Hamnett’s astonishing career not only as a visual artist (whose reputation has only recently been recovered from undeserved obscurity), and as a muse, model, and a self-fashioning bohemian (whose excesses in the bars of Fitzrovia, Soho and Montparnasse, for many of her critics, eclipsed her other talents), but also as a writer. Reappraisal of Hamnett, and in particular her neglected and misunderstood Laughing Torso, opens fascinating cross-channel conduits to numerous modernist circles and to many pressing as well as entrenched critical and theoretical questions on modernism, including its transnational and geopolitical, trans-temporal and interdisciplinary, (trans-)performative and cross-gender framings.
Jean Rhys’s comédie anglaise
Authors: Kolocotroni Vassiliki
Published: May 2022

Jean Rhys’s Paris-based work is a prime example of cross-channel modernism in cultural and biographical terms, but it is also testament to the construction of a distinct style, which relies as much on testimony and the presumed authenticity of lived experience as on the wearing of literary masks. In The Left Bank, Quartet and Good Morning, Midnight, Rhys puts on a range of such masks, or literary poses crafted out of translated and transposed linguistic and literary material, much of which is still not fully recognized by her critics. This essay traces the provenance of one of these masks in an episode from Balzac’s Comédie humaine and proposes it as emblematic of the literary resonance of her craft, and a distinctive Rhysian form.
Close Up and Cross-Channel Cinema Culture
Authors: Marcus Laura
Published: May 2022

The film journal Close Up, edited by Bryher and Kenneth Macpherson and published between 1927 and 1933 in Switzerland, was an important vehicle of communication across the Channel. The journal published, in French, an important series of articles on the face of screen actors by Jean Prévost, the literary editor of Adrienne Monnier’s journal Le Navire d'Argent. It also included regular accounts, also in French, of films shown in Paris and Geneva, by its correspondents Jean Lenauer and Marc Allégret and, in Geneva, Freddy Chevalley. This chapter will explore the place of Close Up in French-British cultural exchange in the interwar period, paying particular attention to the assumption that its readers would be comfortable with untranslated articles. The broader context is that of the interchange between British and French cinema culture in the early decades of the twentieth century.
Debussy at the Omega Workshops
Authors: de Charlotte
Published: May 2022

Following the outbreak of war in 1914, Roger Fry encouraged a series of Friday concerts at the Omega Workshop at 33 Fitzroy Square to raise funds for Belgian refugees. Poorly documented in any detail, these events nonetheless included some remarkable feats of organisation. This essay will look in particular at a staged production of Debussy’s Boite à Joujoux in early 1915, four years before its acknowledged premiere at the Théâtre Lyrique du Vaudeville in Paris. Debussy’s piano score was complete by the end of 1914, but the orchestration was only partially finished on the composer’s death in 1918. In spite of this, Norwegian artist Roald Kristian gathered a small orchestra of Belgians for a performance complete with dancing puppets made and worked by Omega artists. The production provides further intrigue for the radical use of marionettes made by Kristian, which Debussy himself recommended to French designer André Hellé for the French premiere but which were never adopted. Kristian’s marionettes are lost, however designs by Winifred Gill offer insight into Omega’s fascination with marionettes and children’s toys, suggesting one possible reason for their inclusion in this production.
This essay also sets the production in a wider context of Bloomsbury’s long-standing interest in Debussy, from Duncan Grant’s drawings around the Ballet Russe production of Jeux in 1913, his costumes for a production of Pelléas and Mélisande at New York’s Garrick Theatre in 1917-1919, and Virginia Woolf’s provision of financial assistance for an exhibition of decoration for a Music Room by her sister Vanessa Bell and Grant in 1932 at the Lefevre Gallery, in which Debussy had a prominent place.
Across the Other Channel: Elizabeth Bowen and Modernist Mediation
Authors: Elkin Lauren
Published: May 2022

The Anglo-Irish writer Elizabeth Bowen has always presented a problem to critics who have wished to place her: politically conservative but socially liberated, she lived between two countries, feeling English in Ireland and Irish in England, and was, according to her one-time lover, the writer Seán Ó Faoláin, ‘heart-cloven and split-minded’ when it came to the question of national loyalty. She is, in this sense, an intensely complex writer of mediations.
This essay will argue that we must read Bowen as a trans-Channel writer, not only as a frequent traveller across the English Channel (which she was) but one who moved constantly across St George’s Channel, the body of water that separates Ireland and the United Kingdom, sometimes called the Irish Channel. In their study of the literary channel and the invention of the novel, Margaret Cohen & Carolyn Dever argue for a liminal ‘Channel zone’ between England and France, where the novel takes shape as a form. I borrow this notion of a Channel zone as a liminal place where Bowen’s novels, stories, and essays flourish, and to recognize the importance of the English Channel and the Kent coastline for Bowen while also redirecting our attention to her many movements across the other, Irish Channel. My readings of Bowen’s crossings and correspondences counter Ó Faoláin’s metaphor of the split with the logic of the fold, focusing especially on Bowen's 1935 novel The House in Paris, in order to free her from the back-and-forth motion of the Anglo-Irish binary, and to open up the many passages, connections, and encounters her work enacts.
Exploring a Style of Passion
Authors: Bacon Henry , Laine Kimmo , Seppälä Jaakko , Bacon Henry , Laine Kimmo , Seppälä Jaakko
Published: May 2022

According to the critical consensus Teuvo Tulio’s melodramas are stylistically homogeneous and excessively hyperbolic. By providing a quantitative and contextualised analysis of average shot lengths in Tulio’s cinema, this chapter enhances our understanding of his use of stylistic means. The analysis reveals whether there are significant changes in Tulio’s film style and whether these amount up to discernible trends over his career. The results are compared to film historical data with the purpose of examining how Tulio’s style relates to cinematic styles of the past and those of his contemporaries. While the chapter does not provide a comprehensive analysis of Tulio’s style, it offers insights into its nature and development.
Art of Repetition
Authors: Bacon Henry , Laine Kimmo , Seppälä Jaakko , Bacon Henry , Laine Kimmo , Seppälä Jaakko
Published: May 2022

Excessive and conspicuous repetition was a fundamental component of Teuvo Tulio’s authorship. Even though Tulio’s film career spanned over thirty years, his melodramas changed remarkably little. Being difficult not to notice, Tulio’s repetitions have received a lot of critical attention. But the extent to which repetition characterises his oeuvre and the various ways in which he uses it have not been systematically analysed. This chapter explores how repetition in its many modifications contributes to Tulio’s film style making it not only recognisable but also aesthetically rewarding
Introduction: What Is Dialect Writing? Where Is the North of England?
Authors: Honeybone Patrick , Maguire Warren
Published: May 2022

This chapter is an introduction to the contributions and themes in the volume ‘Dialect Writing and the North of England’, explaining how both ‘dialect writing’ and ‘the North of England’ are complex notions which have often been poorly understood. It shows how we need insights from a range of disciplines (including dialectology, cultural studies, structural linguistics, the study of spelling and literature) in order to fully understand dialect writing, and that a range of factors (including dialectological, cultural, geographical and political factors) conspire to determine what counts as ‘the North’. The chapter considers the range of texts that make up dialect writing, proposes a framework for interpreting this variation (in terms of intended audience and the proportion of text in non-standard language), and considers how dialect writing can be used as evidence for both the way in which contemporary dialects are stored and interpreted, and as evidence for dialects’ history.
Dialect and the Construction of Identity in the Ego-documents of Thomas Bewick
Authors: Beal Joan
Published: May 2022

This chapter looks at the use of dialect in the ego-documents of the Newcastle-based engraver Thomas Bewick (1753-1828). It begins by outlining the methodology of third-wave historical sociolinguistics and the framework of indexicality and enregisterment and how these might be applied to historical data. After a biographical account of Thomas Bewick which shows his interest in dialect and his strong attachment to Tyneside, it goes on to analyse extracts from Bewick’s correspondence and memoirs. This demonstrates how Bewick uses Northumbrian (and sometimes Scots) dialect to construct and perform identity both in his personal correspondence and in the memoir which would present his persona to posterity.
Russian Dolls and Dialect Literature: The Enregisterment of Nineteenth-Century ‘Yorkshire' Dialects
Authors: Cooper Paul
Published: May 2022

This chapter discusses what nineteenth-century textual material can tell us about historical perceptions of the language features used to represent different Yorkshire dialects in writing. Using a corpus of dialect literature and literary dialect, prefatory material in dialect dictionaries, contemporary magazines, and travel writing, systematic differences in written representations of Yorkshire dialects are highlighted. The chapter argues that dialect features which are represented and discussed most frequently and consistently are evidence of their enregisterment. Accompanying historical metacommentary also illustrates third-order indexical links between these features and social values relating to specific geographical areas within Yorkshire for nineteenth-century audiences. The chapter concludes that distinct repertoires of Yorkshire dialect are observable in historical texts and there are quantifiable differences in the features used to represent different regions.
Metaphor and Indexicality in The Pitman's Pay : The Ambivalence of Dialect
Authors: Hermeston Rod
Published: May 2022

This chapter explores the interaction of metaphor and the social meaning of non-standard dialect in Thomas Wilson’s nineteenth-century Tyneside dialect poem The Pitman’s Pay. The chapter examines the role of metaphor in expressing ideologies and world-views that reflect the homely, local labouring-class experience and the down-to-earth. Of particular interest is the use of metaphors based on the local experience of coalmining. Although the use of metaphor in texts is often associated with the concept of ‘literariness’, it is argued that metaphor in The Pitman’s Pay reinforces existing social meanings for the Tyneside dialect. Therefore, any emergent associations of ‘literariness’ in the poem for dialect are constrained.
The Bolton/Worktown Corpus: A Case of Accidental Dialectology?
Authors: Timmis Ivor
Published: May 2022

This chapter focuses on how Bolton dialect was represented by non-specialists, many not from Bolton, in the late 1930s. The data comes from the Worktown papers of the Mass-Observation archive – a sociological study of the Bolton working class. Among the 300,000 pages of sociological records, there are around 100,000 words of conversational data noted down live and verbatim. In a significant portion of this, the observers (who can be seen as non-native speaker analysts), clearly made an attempt to represent the local dialect using an adapted orthography. The main questions addressed in the chapter are: (i) What features of the dialect were salient for the observers (and why)? (ii) How convincingly were the observers able to represent the syntax/morphology/phonology of the dialect using adapted orthography? (iii) What attitudes to the dialect are revealed by the observers' use of ‘eye dialect’ and occasional explicit comments?
The Rise of Night Reading in Nineteenth-Century Britain
Authors: Ferguson Christopher
Published: May 2022

A wide range of contemporary documents attest to the expansion of night reading across the social spectrum in nineteenth-century Britain, including autobiographies, diaries, novels, paintings, and popular journalism, but also the evidence of trial witnesses (such as those at London’s Old Bailey). The evidence contained in these and other sources collectively attests to the increasing prevalence of night reading in Britain, suggesting that if the nineteenth century witnessed a ‘reading revolution’, this revolution involved not only the expansion of readers and available print media, but also a broadening of the range of times when reading occurred. This chapter argues that as greater numbers of British men and women began to read after dark, the ideas associated with the act also expanded in kind, transforming the practice of night reading into an important topic in the century’s debates concerning the cultural and political implications of the nation’s growing populace of ‘common’ readers.
The Book as Prop in the Missionary Imagination: Picturing Africans as Readers
Authors: Ferguson Christopher
Published: May 2022

This chapter examines the uncanny process of readers being shaped in the image of their representations over time, focusing on Africans’ cultural encounters with the Berlin Missionary Society. It uses the concept of ‘visuality’ to examine the politics embedded in images of missionised readers in nineteenth-century Africa, demonstrating the complex interplay between real readers, and a number of images of readers that were recycled as engravings and photographs in different print contexts over the span of more than a century.