bluuebunny/crossref_metadata_2025 huggingface dataset:
Affect in the Margins
Authors: Gamer Michael , O’Loughlin Katrina
Published: January 2021

The marks left by readers in their personal copies of Charlotte Smith’s Elegiac Sonnets provide traces of how manuscript engages print, and readers materially engage writers, in the Romantic period. Surveying 152 copies of Elegiac Sonnets and other contemporary sonnet collections by Bowles, Robinson, and Seward, this essay considers how marginalia challenges us to reconsider how readers used books—and how books might use their readers—in soliciting and forging affective relationships through print. We chronicle Smith’s careful recollecting and reframing of her own poetry in printed editions, a practice which seems to have licensed readers in turn to change how they responded to her verse. Why did Smith’s readers mark, interleave, or otherwise thicken their copies more often and with greater urgency than the readers of other late eighteenth-century sonneteers, particularly as the Elegiac Sonnets grew? Tracing these various annotations, from the most conventional to the most transgressive, heightens our historical sense of the dynamism of Smith’s publishing practice and illuminates the sentimental and aesthetic bonds she formed with readers. It also, we argue, exposes something more radical: a blurring of lines between persona and poet, author and reader, and between book-writer and book-owner.
It’s the End of the World as We Know It and I Feel Queer
Authors: Singer Kate
Published: January 2021

Even as Mary Shelley’s The Last Man revolves around a contagious plague, it studies a parallel phenomenon, trans-corporeal affects that transform bodies, things, and our very notions of materiality. While readers may be more familiar with the diseased feelings of Evadne and Raymond, this paper dwells on the loving kinds of transmogrifying affects that act as forces and as labile materialities. Queer intimacies that transfer between Adrian and Lionel not only alter ontologies (Lionel’s becoming man from animal and back again), but they also rearrange human and animal relations into queer assemblages of people, animals, plants, and noncorporeal entities. Such posthuman affect evinces Shelley’s last, best hope for human strategies of feeling our way through the Anthropocene in order to change the very natures and embodiments of humans.
Phantasmion, or the Confessions of a Female Opium Eater
Authors: Ruwe Donelle
Published: January 2021

This chapter analyzes the female opium narrative through a comparison of Sara Coleridge’s children’s novel Phantasmion and the texts of De Quincey and Samuel Taylor Coleridge. Phantasmion, the first fairy tale novel in English, explores the fluidity of the physical body through the travails of its hero, Prince Phantasmion. He metamorphoses into insects, falls into vision states, and finally comes into his own in a climactic scene in which he carries the dead body of his mother out of a sand trap. Part insect narrative, part opium text, and part guilt-ridden maternal autobiography, Phantasmion exemplifies Teresa Brennan’s concepts of entrainment and the transmission of affect. This essay begins with a discussion of the maternal body and opium use, with a focus on Coleridge’s breastfeeding diaries and her verse for children. The second section links the novel’s use of insect poetics and physical metamorphoses to Jane Bennett’s ideas about the vibrancy of matter. The concluding section explores the autobiographical elements of Phantasmion as well as its use of a particular opium involute that was inspired by Martin Dobrizhoffer’s account of his time among the Guarani people of Paraguay. As Coleridge repeats this involute throughout her text, the hero Phantasmion gradually comes to understand his own human frailty.
Kant, Aesthetic Autonomy, and Literary Ethics
Authors: Hunnekuhl Philipp
Published: January 2021

Chapter three reveals the paradigm shift in Robinson’s theorization of literature that his ‘conversion’ from the empiricism of Locke, Hume, and Godwin to Kant’s critical philosophy prompted. Yet Kant’s notion of aesthetic autonomy – of art’s detachment from the motives of the mind and the causality governing the laws of nature – occasioned an impasse in Robinson’s conceptualization of literature’s ethical relevance. He resolved this in an ingenious move by skilfully locating in Kant’s critical philosophy, and then developing, an analogy between art and morals: the self-contained structure and dynamic of a work of literature find their corresponding parameters in the reader’s mind, in her or his moral compass. On the basis of this analogy, chapter three argues, Robinson conducted his own ‘ethical turn’ away from notions of absolute aesthetic autonomy, and developed the ground-breaking critical principle of ‘Free Moral Discourse’ (Hunnekuhl) that from here onwards underpinned his literary activities. Against the backdrop of various unpublished manuscripts, this chapter discusses Robinson’s articles on Hume and causality, and on Moses Mendelssohn and the Pantheism Controversy, in the Monthly Magazine (1799–1801), as well as his letters ‘On the Philosophy of Kant’ in the Monthly Register and Encyclopaedian Magazine (1802–03).
The Master and the Pupil
Authors: Charteris Charlotte
Published: January 2021

This chapter draws on Foucault’s ‘Friendship as a Way of Life’ in an exploration of Forster’s most significant and productive inter-generational relationships of the 1930s, arguing that these queer alliances shaped – and were shaped by – not only the Maurice manuscript, but an emerging queer culture that embraced the homosexual’s ‘slantwise’ position in society. As a young queer writer struggling to reconcile the demands of his personal and professional lives, seeking a mentor and yet fundamentally dissatisfied with interwar paradigms of leadership, Christopher Isherwood found in Forster not just a friend, but a master – a model of homosexual writerly life. The master-pupil dynamics that would characterise the pair’s relationship for the remainder of their lives fused the personal with the professional, establishing an ethics of equality and mutual exchange that would ultimately underpin both Forster’s novel, and the collaborative queer aesthetic that would, under Isherwood’s care, finally bring it to birth. Having established the peculiarly generative power of their relationship, the chapter repositions both men within a complex queer dynasty, calling on contemporary theory to offer an affirmative answer to the poignant questioning in Forster’s Goldsworthy Lowes Dickinson: ‘is there nothing which will survive when all of you also have vanished?’
Sexuality, Allegory and Interpretation
Authors: Booth Howard J.
Published: January 2021

Both Damon Galgut’s Arctic Summer and E. M. Forster’s Maurice explore success achieved in the face of society’s hostility to homosexuality. This chapter addresses both novels in terms of allegory and utopian possibility. Whilst Galgut’s adoption of biofiction in Arctic Summer aims to utilize the political and creative possibilities found in early modernist writing, the text’s tight control of narrative form and use of allegory leads to problems – that apparent newness is in fact highly scripted and controlled. Spurred by this consideration of Arctic Summer, a new approach is taken to Maurice that emphasises its openness as a text. The reader is encouraged to engage with issues of interpretation, with Maurice’s own development showing him becoming adept at reading complex, pressured situations. John Bunyan’s The Pilgrim’s Progress is seen as an important intertext both for Maurice and the South African Anglophone tradition to which Galgut belongs. Using Walter Benjamin on natural history and allegory the chapter contends that Maurice, whilst maintaining its stress on how long-term same-sex relationships and cross-class love secure meaning in the world, also depicts a world that is always subject to change, loss and ruination.
The Black Diaries
Authors: Garden Alison
Published: January 2021

The chapter explores Casement’s Black Diaries, and their reception, through a discussion of three novels: Conan Doyle’s The Lost World (1912), Alan Hollinghurst’s The Swimming-Pool Library (1988) and Mario Vargas Llosa’s The Dream of the Celt (2010). In a move that embodies the homophobia that has so often plagued Casement’s posthumous life, Vargas Llosa depicts Casement’s Diaries as little more than the fantasies of someone deeply ashamed of their sexual taste. In The Swimming-Pool Library, Hollinghurst is able to stage the uneven power dynamics that defined Casement’s sexual encounters while also illustrating the erotic thrill offered by racial difference, contextualised through a genealogy of queer desire. Finally, the chapter concludes by engaging the Black Diaries alongside Conan Doyle’s The Lost World, which features settings and a character inspired by Casement, and explicating the novella’s insistence on the erotic quality of racial difference while also highlighting the underlying queer energy inherent to the imperial romance of the Boy’s Book.
The traitor and the hero
Authors: Garden Alison
Published: January 2021

In the years immediately prior to, and of, the Second World War textual glimmers of an unnamed Roger Casement can be detected in a preoccupation with the ghostly return of Irish history. As Ireland grappled with what role she could or should play in the (impending) war, a role complicated immeasurably by the precarious border and new Northern statelet, numerous authors grappled with an Irish history compromised by unclear allegiances and betrayal. This chapter uses a collection of mid-twentieth century texts – James Joyce’s Finnegans Wake (1939), Jorge Luis Borges’ ‘The Theme of the Traitor and the Hero’ (1944) and Elizabeth Bowe’s The Heat of the Day (1948) – to map how the interlinking preoccupations of espionage, betrayal and, frequently, sexual intimacy, are deeply connected, implicitly or explicitly, to the haunting spectre of Casement.
‘who is to know the fate of his bones’
Authors: Garden Alison
Published: January 2021

The monograph concludes with a coda exploring the multiple centenary events celebrating Roger Casement’s afterlives that took place in Ireland in 2016, as part of Ireland’s Decade of Commemorations. Rather than offer a conclusion that forecloses our understanding of Casement’s afterlives, this coda gestures towards his continued relevance to cultural memory, cosmopolitan consciousness and the rapidly changing political landscapes of the British and Irish isles. These performances and exhibitions shed fascinating light on the unfinished role that Casement plays within Irish culture and self-fashioning, capturing a range of artistic responses to his afterlives at a key moment in Irish history.
Introduction
Authors: Bowman Timothy , Butler William , Wheatley Michael
Published: January 2021

Overall approximately 152,000 Irishmen and a few thousand Irish women enlisted in the British armed forces during the First World War, joining 58,000 Irish men who were already serving or were army reservists. This was an impressive number but compared poorly with rates in Great Britain. For many years there was a perception that it was only ‘Loyal’ Ulster which provided recruits. However, it is clear, from the important works of Patrick Callan and David Fitzpatrick, that recruitment was nationwide. The support of John Redmond, leader of the Irish Party, was essential in mobilising Catholic, Nationalist support for the British war effort.
Bureaucracy, Propaganda and the Conscription Crisis
Authors: Bowman Timothy , Butler William , Wheatley Michael
Published: January 2021

This chapter discusses the propaganda organisations established in Ireland during the First World War. Tasked with organising military recruiting in Ireland, these bodies included the Central Council for the Organisation of Recruitment in Ireland (CCORI), the Department of Recruiting in Ireland (DRI), and the Irish Recruiting Council (IRC), which were in existence at various stages across the war, from May 1915 until its termination. It addresses how these bodies were set up, organised, and, ultimately, how successful they were. It places these organisations into the unique Irish context, as propaganda activities operated in the context of Irish Home Rule in 1914-15, during the Easter Rising in 1916, and the Conscription Crisis in 1918. It also places their activities within the wider British context, particularly drawing comparisons with the Parliamentary Recruiting Committee (PRC).
Violent Loyalties
Authors: McGaughey Jane G.V.
Published: January 2021

Upper and Lower Canada were parts of the Irish Diaspora that presented strong representations of Irish masculinities and deeply-held beliefs about Irish manliness in the decades prior to the Great Irish Famine. While histories of the famine and of the Irish in Canada in the second half of the nineteenth century continue to garner important attention and scholarship, the aim of this history is to relate and reposition the stories of earlier Irish male migrants to the Canadas so that their gendered, violent, and loyal experiences can take their place within the larger story of gender and migration across the Irish Diaspora. Using various case studies from the period of 1798 until 1841, this book argues that Irishmen living in the Canadas were the subject of a vast array of manly constructions and representations. Their involvement in creating, sustaining, or destroying these images and stereotypes had lasting positive and negative effects depending upon one’s position within colonial society. For those who prospered because of how Irish manliness was seen and understood, the themes of gender, violence, and loyalty were part of how they embedded themselves within the fabric of the Canadian colonies and the wider British Empire. For those who were treated poorly because of presumptions made about their manhood, their capacity for violence, or their Irish ethnicity, the Canadas could be an unfriendly and dismissive space. ‘Irishness’ in this period was experienced and defined very differently by individual Irishmen and by the collective fraternities they embodied.
Introduction
Authors: McGaughey Jane G.V.
Published: January 2021

Benjamin Lett’s escapades on the Canadian frontier, including the destruction of the Brock Monument in 1841, strengthened the stereotype of Irishmen in the Canadas as violent, rebellious, and politically agitated newcomers who created an unsettling presence in the colonies. The violent actions of comparatively few Irishmen in the Canadas were more powerful in the colonial imagination than the lived experiences of hundreds of thousands of their countrymen in Lower and Upper Canada. This chapter introduces the power that this negative stereotype had in shaping the experiences of Irish immigrants in the decades before the Great Irish Famine. It outlines how codes of manliness and constructions of masculinities intersected with popular ideas about Irish violence and loyalty, placing the book’s subsequent case studies in a wider international and comparative framework. It also explores previous historiographies of the Irish in Canada and argues for the influence that gendered analyses can bring to transnational histories.
Ogle Gowan and Orangeism in Upper Canada
Authors: McGaughey Jane G.V.
Published: January 2021

This chapter examines the early career of Ogle R. Gowan, the founder of the official Orange Order in Canada and his quest for respectability in political life and within the colonial establishment. Gowan introduced a more belligerent construction of Irish loyalist manliness than had existed prior to his arrival in Upper Canada. His public representation of Irishness centred on defending Protestantism, the fraternalism of the Orange lodge, and extreme loyalty to the Crown. The chapter traces his path from Co. Wexford to Upper Canada, and how he presented Orangeism as a vital transatlantic link between Ireland and the Canadas. The chapter also investigates how Gowan’s wife, Frances, was involved with his first cousin, James R. Gowan, and the implications which that close relationship had on James’ decision to abandon Orangeism in favour of a successful public career that his cousin Ogle was never able to attain.
Dismemberment at Windmill Point
Authors: McGaughey Jane G.V.
Published: January 2021

This chapter analyses events before, during, and after the 1838 Battle of the Windmill in Upper Canada. It explores how masculine imagery informed the manner in which the Irishmen fighting at Windmill Point were perceived by their peers, their enemies, and amongst themselves. It pays particular attention to local Orangemen who fought in the battle and how that hyper-masculinized and often violent Irish fraternity positioned itself within the frameworks of loyalism, social ascendancy, and imperial defence. In trying to prove their loyalty and gain social respectability within the colony, many of the Irishmen fighting at the windmill ended up reinforcing some of the more basic and crude stereotypes about their ethnicity and gender. The chapter includes gendered analyses of the mutilations that occurred during the battle, and closes by comparing how punishments against rebels in 1838 mirrored those from the 1798 Irish Rising.
Halloween
Authors: Leeder Murray
Published: January 2021

The 1970s represented an unusually productive and innovative period for the horror film, and John Carpenter's Halloween (1978) is the film that capped that golden age — and some say ruined it, by ushering in the era of the slasher film. Considered a paradigm of low-budget ingenuity, its story of a seemingly unremarkable middle-American town becoming the site of violence on October 31 struck a chord within audiences. The film became a surprise hit that gave rise to a lucrative franchise, and it remains a perennial favourite. Much of its success stems from the simple but strong constructions of its three central characters: brainy, introverted teenager Laurie Strode, a late bloomer compared to her more outgoing friends, Dr. Loomis, the driven, obsessive psychiatrist, and Michael Myers, the inexplicable, ghostlike masked killer. This book offers a bold and provocative study of Carpenter's film, which hopes to expose qualities that are sometime effaced by its sequels and remakes. It explores Halloween as an unexpected ghost film, and examines such subjects as its construction of the teenager, and the relationship of Halloween the film to Halloween the holiday, and Michael Myers's brand of ‘pure evil’.
Introduction
Authors: Leeder Murray , Leeder Murray
Published: January 2021

This introductory chapter provides an overview and a synopsis of John Carpenter's Halloween (1978). Halloween is an acknowledged horror classic, and one of the relatively few horror films added to the National Film Registry by the U.S. Library of Congress, an honour accorded to it in 2006. A large part of the effectiveness of Halloween lies in its willingness to be basic and uncomplicated. Even its stylistic flourishes, highly ambitious for such a low-budget independent production, are smoothly integrated, instead of being showy and ostentatious. Carpenter has characterised Halloween as an exercise in style, and freely uses the term ‘exploitation film’ to describe it. The chapter then considers the relationship between Halloween and the slasher film. It also assesses the role of urban legend themes in Halloween, and how the film evokes a practice that anthropologists and folklorists have dubbed ‘legend tripping’.
‘Purely and Simply Evil’
Authors: Leeder Murray
Published: January 2021

This concluding chapter addresses the question of Michael Myers as an abstract embodiment of pure evil. In Halloween (1978), John Carpenter presents an ‘anonymity of evil’, with evil simultaneously localised within an individual and made faceless, traceless, and inexplicable. As Carpenter explains, this blankness was designed to allow the audience to ‘project their own feelings and thoughts and fears into this character so he's more than what he was, more than what was there’. The film works formally to underscore Michael's status as a dehumanised and abstract ‘evil’. The chapter then shifts the issue from moral philosophy to cinematic presentation, from ‘evil’ to ‘villainy’. Cinematic villains are often designated as pure evil but come off as less evil than intended simply because of the humanising touches performance inevitably adds. Carpenter worked against this tendency through the presentation of Michael Myers, so calculated to exclude everything that is human. The mask, which both resembles but is clearly not a human face, works to winnow away the human factor from Michael Myers. Like an actor in a Greek drama, Michael wears his villainy plainly on his face.
Introduction
Authors: Guesnet François , Matis Benjamin , Polonsky Antony
Published: January 2021

This chapter focuses on Jewish musicians and Jewish music-making in the Polish lands. It examines the astounding variety of music of all genres and styles produced by musicians of Jewish heritage in Europe since 1750. It also places the modern study of Jewish music between Jewish studies, cultural studies, and the anthropology of music as a fascinating opportunity for a multi-disciplinary approach to the issues of Jewish musical life. The chapter explores the activities and creativity of Jewish musicians as they worked in the Polish–Lithuanian Commonwealth and its successor states. It describes the character of traditional cantorial and religious music and the way this was transformed by the changes in Jewish religious practice.
Moshe Koussevitzky (1899–1966) in Vilna, Warsaw, and Russia
Authors: Zimmermann Akiva
Published: January 2021

This chapter examines the years spent in Vilna, Warsaw, and Russia by Moshe Koussevitzky, one of the greatest cantors of the twentieth century. It recounts Moshe's path to the position of chief cantor at the Great Synagogue of Vilna. It also mentions Shlomo Scharf, who had returned with other Lithuanian refugees from Russia and sang in the choir of Taharat Hakodesh synagogue. The chapter discusses Moshe's marriage to Raya Zrankin and their settlement into an apartment on Dominikanska Street, in the Jewish quarter. It points out how Moshe was deeply influenced by Eliasz Zaludkowski's easy handling of the nusah hatfilah.
Gimpel’s Theatre, Lwów
Authors: Aylward Michael
Published: January 2021

This chapter examines how the music of the Yiddish theatre was preserved on gramophone records between 1904 and 1913. It describes how the gramophone brings to life the sounds and atmosphere of the popular Yiddish theatre in Galicia in the most vivid manner imaginable. It also talks about the record companies that focused on Gimpel's theatre in Lwów, such as Favorite, Beka, and the Gramophone Company that recorded about 800 titles of Yiddish theatre music. The chapter provides a very brief history of the theatre founded by Jakob Ber Gimpel and gives an overview of the recordings the theatre made in the decade preceding the First World War. It mentions the field recordings being made in rural Hungary by Béla Bartók and Zoltán Kodály.
The Polish Tin Pan Alley, a Jewish Street
Authors: Rothstein Robert A.
Published: January 2021

This chapter highlights the 28th Street, between Fifth and Sixth Avenues in Manhattan, that became the home of several music publishers. It looks into the various accounts of how 28th Street came to be called “Tin Pan Alley,” pointing out the observation that the pianos played by song “pluggers” produced a cacophony reminiscent of the clatter of tin pans. It also mentions how the name “Tin Pan Alley” was eventually used as a metonym for the American popular-music industry. The chapter explores the pre-eminent role of Jewish composers, poets, songwriters, and performers in the Polish popular music industry of the 1920s and 1930s. It also focuses on Adam Aston, who was credited with popularizing the first Polish rumba, and Mieczysław Fogg, the most popular Polish singer of the twentieth century.
On the Dance Floor, on the Screen, on the Stage
Authors: Sztyma Tamara
Published: January 2021

This chapter examines the Polish Jewish cultural frontier as the cradle of Poland's first mass culture. It identifies Polish Jewish intellectuals and artists that was connected to the entertainment industry, such as in music, film, theatre, and cabaret. It also describes the developments in America during the main centre of popular culture and the entertainment industry, which was mostly shaped by immigrants and several Jews from eastern Europe. The chapter reviews the beginnings of the Polish record industry that dated back to the early twentieth century and mentions the Jewish entrepreneurs that saw both its potential. It discusses Syrena Record as the first record label in Poland that was founded in 1904 in Warsaw by Juliusz Feigenbaum, who drew upon his family's generation-spanning tradition in the music business.
Singing Their Way Home
Authors: Adler Eliyana R.
Published: January 2021

This chapter analyzes the way wartime experiences were reflected in the songs of Polish Jews who escaped the Holocaust by fleeing to the Soviet Union. It introduces both the contours of the controversy and the broad outlines of what the Polish Jews went through during the war years. It also looks into the research about partisans and ghetto fighters that far outweighs their significance and their percentage of the Jewish population in Europe. The chapter investigates the hegemony of armed resistance by introducing the idea of “spiritual resistance,” which encompassed explicitly religious and other actions that raised the human spirit in the face of the Nazi effort to destroy it. It identifies singing as one of the many phenomena to describe spiritual resistance, which is considered an act that could have no possible effect on the war and yet allowed its victims to find the strength to continue living.
Jerzy Jedlicki
Authors: Polonsky Antony
Published: January 2021

This chapter dedicates an obituary to Jerzy Jedlicki. It discloses Jerzy as a leading Polish social historian, who died at the end of January 2018 at the age of 88. It also mentions Jerzy's active involvement in the Pen Club after he the negotiated the end of communism in 1989. The chapter highlights events that led Jerzy to be one of the founders of Open Republic: The Association for Combating Antisemitism and Xenophobia and become chair of its Programming Council. It details how Jerzy received the Commander's Cross of the Order of the Rebirth of Poland in 2011 and Polish Nobel Prize in 2015.
Richard Pipes
Authors: Polonsky Antony
Published: January 2021

This chapter gives an obituary for Richard Pipes, who died in Boston, Massachusetts on 17 May 2018. It recalls Richard as an eminent historian of the tsarist empire and the Soviet Union, as well as a public intellectual who made a major contribution to the formulation of US foreign policy in the last decades of the Cold War. It also mentions Richard's doctoral dissertation, which reflected his lasting interest in national questions and was published under the title The Formation of the Soviet Union: Communism and Nationalism, 1917–1923 in 1954. The chapter looks into Richard's comprehensive studies of Russia, which stresses the conspiratorial nature of the Bolsheviks and the continuities between Russian and Soviet history. It explores Richard's final book Alexander Yakovlev: The Man Whose Ideas Delivered Russia from Communism that was published in 2015.
Leopold Kozłowski
Authors: Polonsky Antony
Published: January 2021

This chapter offers an obituary for Leopold Kozłowski. It describes Leopold as the last klezmer, who died at the venerable age of 100 on 12 March. It recalls how Leopold spent several months in the labour camp at Kurowice, recounting how he taught a Nazi officer the accordion in exchange for food, and how the Nazis forced him to compose a “death tango” and play while other Jews were led to their deaths. It also mentions Leopold's survival from the labour camp and resettlement in Kraków, where he studied conducting at the Higher State Music School. The chapter notes Leopold's composition of music for films and the theatre, even acting in the film Schindler's List while serving as an adviser on the music of the ghetto. It highlights his performances in Poland, Europe, the United States, and Israel, which he continued until the end of his life.
Mad Max
Authors: Conterio Martyn
Published: January 2021

Mad Max (1979) is a freak picture. Too classy and well-crafted to be lumped in with low-budget Ozploitation titles, yet completely unlike other films made during the 1970s Australian New Wave, George Miller's directorial debut is a singular piece of action cinema, one that had a major cultural impact and spawned a movie icon in Max Rockatansky (played by Mel Gibson). This monograph examines the film's considerable formal qualities in detail, including Miller's theory of cinema as “visual rock 'n' roll” and his marriage of classical Hollywood editing and Soviet-style montage. George Miller is arguably the single most important filmmaker in Australia's history, bringing a commercial and artistic vision to the screen few of his compatriots have ever managed before or since. Taking in everything from the film's extremely controversial critical reception to its legacy today via a string of sequels and the creation of an entire subgenre—postapocalyptic action—this book is for film students and fans alike.
Metal Damage, Brain Damage
Authors: Conterio Martyn
Published: January 2021

This chapter traces the history of Australian film production in order to examine how George Miller came to make his first film and how a resurgent Australian film industry helped Mad Max (1979) into being. Australian film production was in serious trouble after the Second World War. Even earlier, like other countries after the First World War, it had had to contend with the raging popularity of American movies. From the late 1960s, where film output was virtually zero, to around 20 films a year in the late 1970s, the Australian New Wave was no mad gold rush, but did enough to bear fruit. It became clear that Australian filmmakers would adapt well enough in America, where it was relatively easier to get a movie made. Where does Mad Max fit into the landscape of the Australian New Wave of the 1970s? Does it belong at all? Historically, it has been lumped in with what became known as Ozploitation, the second-tier genre works which emerged in the decade. At the time of Mad Max's release in April of 1979, Australia's national cinema and industry was well into its glorious renaissance.
The White Line Nightmare
Authors: Conterio Martyn
Published: January 2021

This chapter describes the directing style of George Miller in Mad Max (1979). The Mad Max franchise is known for its epic car chases, and one might say, in general, Australian filmmakers are cinema's leading experts of car crashes. Car chases, crashes, and staging furious action is where Miller's creative genius kick in. What sets him apart from other directors is not just his bravura use of practical effects and mounting dangerous-looking stunts for real, but how dangerous they can be in the world of the movie. In other words, unexpected elements are thrown in to liven up proceedings and keep the audience hooked into the virtuosic storytelling. The chapter then considers Miller's visual rock 'n' roll theory. Miller's use of montage merges Classical Hollywood editing with bits borrowed from Soviet-style montage. The marriage between east and west editing principles is made apparent in Mad Max's opening chase, where a series of parallel happenings coincide with the introduction of the hero (teased in disembodied shots or wide shots).
Beyond Anarchie Road
Authors: Conterio Martyn
Published: January 2021

This chapter explores the sequels to George Miller's Mad Max (1979): Mad Max 2 (1981), Mad Max Beyond Thunderdome (1985), and Mad Max: Fury Road (2015). It also looks at the influence of Mad Max. Mad Max's cultural credentials are evident in the array of films, television shows, music videos, and art installations it influenced, or on works which make direct reference to it. The chapter then studies the video essay Terror Nullius (2018), which was commissioned by the Australian Centre for the Moving Image. This playful video essay uses footage from Mad Max to satirise Mel Gibson and denounce his misogynistic, racist rants. The chapter also considers the relationship between Mad Max and The Rover (2014). The Mad Max comparisons largely stem from the fact that The Rover is also set in the future and is situated around a great shift in the country's fortunes. And, as with Mad Max, the future is stripped down and desolate, hinting at rather than showing social decay.
Conclusion
Authors: Conterio Martyn
Published: January 2021

This concluding chapter argues that Mad Max is a benchmark in Australia's cinema, even if initially the film might have been overshadowed by The Road Warrior (1982), and its influence best embodies the post-apocalyptic subgenre. Today, leather-clad Max Rockatansky is an Australian icon. Mad Max represents pure guerrilla moviemaking. It is this humble quality, mixed with an audacity somewhere between inspired and crazy, that makes Mad Max a true one-off; the type of thing one can only get away with once. George Miller did not singlehandedly invent the post-apocalyptic actioner, but his specific iteration of the planet going down in flames provided a template for others to follow. Throughout the 1980s and into the 1990s, especially, Italian genre flicks, Ozploitation titles, and Hollywood tried to rework the Mad Max formula.
Prologue (and Epilogue)
Authors: Curti Roberto , Curti Roberto
Published: January 2021

This chapter provides an overview of Mario Bava's film Blood and Black Lace (6 donne per l'assassino) in 1964. It mentions critics and commentators of the Blood and Black Lace movie who were spellbound by its fascinating visual analogy that links the opening and final images. It also looks into analyzations of the film that proposes the most disparate interpretations. The chapter discusses Bava's demystifying explanation of his movie in an interview published in 1979, just one year before his death. It talks about the significance of the opening scene of Blood and Black Lace and interprets the connection between the signboard swinging at the beginning, during a rainstorm, and the telephone falling on the ground.
Under the Sign of the Giallo
Authors: Curti Roberto , Curti Roberto
Published: January 2021

This chapter explores the significance of German participation in the film Blood and Black Lace. It discusses how Italy had signed a co-production agreement with West Germany in 1962 that started the passage from period Gothic to a thriller set in the present day. It also explains the Italian film makers' intention of joining the successful thread of the German so-called “krimis,” the murder mysteries inspired by the works of Edgar Wallace and produced by Preben Philipsen's Rialto film company in 1959. The chapter focuses on the distinct and well-defined tradition of mystery in Italy. It describes the genre known as “giallo,” which had been very popular since 1929 when the Italian publishing house, Mondadori launched a new editorial series called the Yellow Books (I Libri Gialli).
Dressed to Kill
Authors: Curti Roberto , Curti Roberto
Published: January 2021

This chapter describes how the murderer in the film Blood and Black Lace (6 donne per l'assassino) became an icon through its clothing, which included a raincoat, hat, and black gloves. It explains how the outfit of the murderer in the film, like a haute couture model, will be copied over and over in forthcoming gialli. The chapter analyzes the multiple literary and filmic influences identified in Mario Bava's faceless murderer and Edgar Wallace's novel White Face to the German krimis. It mentions faceless figures that populate Man Ray's surrealist short film Les Mystères du château de Dé in 1929, which was considered the most outstanding and surprising predecessors on iconic images of murderers. It also analyzes how masked murderers in films are more than a gimmick to hide the identity but emphasizes an almost feral attribute due to its muteness.
The Evil Eye
Authors: Curti Roberto , Curti Roberto
Published: January 2021

This chapter talks about the introduction of the zoom lens in Italian cinema in the early 1960s, which had become widespread in the previous decade. It mentions the Zoomar company that enjoyed a virtual monopoly of the US market as the “zoom” became a common sight on American television by the early to mid-1950s. It discusses how the zoom was soon adopted by many productions in Europe for the saving of time and money it involved. The chapter describes the zoom that allowed directors to get rid of tracking shots and shift to close ups within the space of one shot, simplifying and speeding up the filming process. It emphasizes how the zoom had turned into a must-have accessory for any filmmaker by the mid-1960s.
The Rules of the Game
Authors: Curti Roberto , Curti Roberto
Published: January 2021

This chapter highlights Mario Bava's Blood and Black Lace (6 donne per l'assassino) that was advertised in Italy as an out-and-out whodunnit type of film. It argues why the film should not be considered as a whodunnit in accordance with the rules of the period, such as its lack of comic relief and the British setting. It also explains the Blood and Black Lace's lack of a proper through-line of detection, in which each victim and murder are the object of a separate section and a potentially self-contained mini-narrative. The chapter describes the very “thin” human factor in the film Blood and Black Lace's initial introduction of characters during the opening credits. It points out how Blood and Black Lace was a film about a crime story that lacked a strong detective figure.
A Celibate Founder
Authors: Curti Roberto , Curti Roberto
Published: January 2021

This chapter looks at the popularity of Mario Bava, which was already a prestigious name in the context of the genre cinema in Italy and abroad. It talks about Bava that was mentioned on the cover of the critical anthology Film 1964 that was curated by Vittorio Spinazzola and linked by the significant subtitle of “mass movies and avant-garde cinema.” It also points out why the film Blood and Black Lace (6 donne per l'assassino) was not a commercial success in Italy despite the critics' interest on Bava and the commercial potential of the story. The chapter discusses critics that were content to concede Blood and Black Lace's stylistic qualities and its exquisite tricks of the trade. It looks at the newspaper La Stampa's review about how the film dispenses thrills and emotions by way of the director's excellent technique than with the shaky gimmicks of a clumsy script.
“Admire and Do Otherwise”
Authors: Thornton R. K. R.
Published: January 2021

Gerard Manley Hopkins had a powerful impact on Ivor Gurney, who had poems by Hopkins with him in the WWI trenches. Gurney epitomizes the dramatic change from nineteenth-century poetry to Modernism, and this change was fundamentally influenced by the example of Hopkins. While Gurney did not mimic Hopkins’s mannerisms or take on his themes, from Hopkins he learned to harness and hold expansive energy within his own eccentric forms. In so doing, Gurney set a pattern for later writers responding to Hopkins.
“Strange Elation” and a Strange Relation
Authors: Merriman Emily Taylor
Published: January 2021

While Gerard Manley Hopkins—a supporter of British imperialism who did not engage with issues surrounding colonialism, slavery, or race—might seem a surprising model for post-colonial writers, he has in fact generated powerful responses in Caribbean poets through his playful rhythmic sensibility, attunement to individuality, religious faith, and environmental consciousness. For John Figueroa, Derek Walcott, Lorna Goodison, Pamela Mordecai, John Robert Lee, Jane King, Linton Kwesi Johnson, Kwame Dawes, and Vladimir Lucien, Hopkins has been an important example of linguistic resistance. His authenticity of voice, even when it comes from a distant land and culture, has inspired writers whose voices have often been marginalized; his attention to linguistic variation has stimulated experiments with patterns and intonations of Caribbean Anglophone dialects; and his idiosyncratic descriptions of the material world have given Caribbean writers an example of how to capture the uniqueness of their own vibrant landscapes.
“Before the Word and World became Separate”
Authors: Moffett Joe
Published: January 2021

There is in Charles Wright’s work a complicated spiritual quest that frequently turns to Gerard Manley Hopkins. Wright’s reappearing “pilgrim” persona, who, unlike Chaucer’s pilgrims, never arrives at his intended destination, persists in a stubborn search for divine insight. Wright uses Hopkins as a sounding board, both in the sense of testing his own spiritu- ality against Hopkins’s and the sense of experimenting with Hopkins’s very sounds. Wright marvels at his predecessor’s ability to combine world, word, and Word; he often attempts, and fails, to do the same, coming to believe that language has become severed from its spiritual origins, but in exploring that rift, which Wright often does in Hopkinsian terms, the poet “burrows deep into the core of the human condition” and achieves a gravity unlike that of any other contemporary poet.
Hansen’s Hopkins
Authors: Grafe Adrian
Published: January 2021

Ron Hansen’s Exiles (2009), a fictionalization of the writing of “The Wreck of the Deutschland,” presents a transformation of Gerard Manley Hopkins into “a postmodern fictional proposition.” Hansen’s Hopkins embodies an investigation of otherness that illustrates Derrida’s concept of hospitality while transforming Hopkins “into text.” Hansen’s emulates Hopkins’s innovation through his genre-bending pursuit in creating this fictional version of Hopkins, combining poetry, historical fiction, and literary analysis into a composite text, even at times emulating and incorporating Hopkins’s own poetic language in this new creation.
Works and Performances
Authors: Dressler John C.
Published: January 2021

This section is organized by genre, lists individual compositions followed by each work’s date, instrumentation, publication data and dedication along with location of the manuscript. Performances are listed chronologically. Cross-references are provided to the Discography and Selected Bibliography sections.
“And Some Climbing”—Dante
Authors: Bacigalupo Massimo
Published: January 2021

A survey of Pound’s relation to Dante, the great model on which he based The Cantos and his poetics. This is placed in the context of earlier and later responses to Dante (from Longfellow and Rossetti to Eliot and Lowell). Pound’s writings on Dante were also read with interest in Italy.
“‘Ma’ Riess of Rapallo”—Laughlin
Authors: Bacigalupo Massimo
Published: January 2021

The future publisher and poet James Laughlin visited Pound often in Rapallo. A little-known memoir of his visits with Pound is included in this chapter and casts new light on Ezra’s milieu, as well as on Laughlin’s future career.
“Republican Correspondence”—The Italian Cantos 72 and 73
Authors: Bacigalupo Massimo
Published: January 2021

Pound wrote and partially published two Cantos in Italian at the close of the war, 1944-45. He suppressed them during his lifetime because of their strenuous defence of Italian Fascism. They are among his most engaging and revealing writings. They are here translated into English, annotated thoroughly, and contextualized.
Afterword
Authors: Bacigalupo Massimo
Published: January 2021

Abstract and Keywords to be supplied.
Beyond the Bower
Authors: Braun Heather
Published: January 2021

Romantic male poets typically describe bowers as lush, ecological spaces for quiet introspection and poetic creation within a distinctly masculinize landscape. In contrast to these idyllic spaces in Nature, the word bower meant something quite different for many nineteenth-century British women writers. For Romantic female poets, these garden bowers were isolated and fragmented spaces where artistic production was inhibited rather than nurtured. Their poems imagine a very different kind of bower, one that is aligned most directly with a second definition of the term: namely, a lady’s apartment in which “embowered” characters are trapped in interior spaces. These barren, claustrophobic bowers offered the antithesis of the freedom and inspiration male poets of the Romantic-era associated with outdoor garden bowers. Poet, essayist, and activist Caroline Norton demonstrates how these artificial domestic prisons produced paralysis and self-division rather than comfort and poetic inspiration. Cut off from the ecological spaces available to their male contemporaries, Norton’s female characters are silenced, distracted, and confined unable to leave their stifling bowers to create space for themselves in the natural world. Many nineteenth-century women writers reconfigured the Romantic garden bower as an unnatural lady’s bower from which female artists must flee in order to create.
The Manifold Ecologies of Lady Audley’s Secret
Authors: Tait Adrian
Published: January 2021

Mary Elizabeth Braddon's Lady Audley's Secret (1862) was a spectacular transatlantic success. The novel was also surprisingly transgressive, not least because it reacted against the way in which the transhistorical association of women and nature was itself becoming the basis of a gendered ecology of the household. In the novel’s opening chapter, for example, Lady Audley and the gardens of Audley Court together appear domesticated and docile: oikos has been subjugated by logos. Yet, Braddon creates this world simply in order to subvert it. Lady Audley is, it transpires, an adulteress who is perfectly willing to attempt murder to protect her secret. By relating the novel to material feminism, it also becomes apparent that Audley Court is itself agential, and its transcorporeal intra-actions with human others suggest that its identity is, like Lady Audley's, not fixed, but on the contrary, constantly changing. In turn, the novel’s many, mutable ecologies point to the possibility of new forms of ecological understanding.
Ecocultural Contact and the Panarchy of Place
Authors: Kucich John J.
Published: January 2021

Margaret Fuller travelled to the Great Lakes region in 1843 on the trail of the Anglo-Ojibway poet Jane Johnston Schoolcraft. She had seen enough to recognize Schoolcraft’s immense promise—a “mine of poesy” that might serve as the raw material of a new American identity based on very different coordinates of gender, race, and culture than the ones settling into place in the antebellum United States. Fuller was too late to meet Schoolcraft, who had died the year before, but with her help, she learned to see the natural world, and the society taking shape in this colonial frontier, in an entirely new way. This essay uses a new materialist focus on the environment to examine how these writers allowed the natural world to complicate and counter the gendered ideologies of settler colonialism spreading over the land. The interplay of these elements in these writers works—American culture, Ojibwe culture, and the environment—is an example of ecocultural contact, one alive to the panarchic energies that often flourish beneath a dominant ideology. Fuller and Johnston, in particular, feature the voices of trees in their radically unsettling work. Reading these two women writers together offers a new approach to ecofeminism.