Open Access (free)
Alannah Tomkins and Steven King

were consequently ‘theatrical’.68 Natalie Davis found that letters of request contain much material suited to tangential studies (in this case, such as kinship support, employment, or crime as a choice for economic survival) without the need for undue hesitation arising from worries about ‘literary construction’.69 Finally, uncertainties about authorship raise questions about whose account is being given. Is the written version an attempt by a barely literate person to write a convincing request or a fluent and persuasive piece of propaganda written by a well

in The poor in England 1700–1850
Paul Henley

the final version of the film before it was screened publicly anywhere else. Moreover, if we can accept Sjöberg at his word, both protagonists regarded the making of the film as a positive experience: indeed, a year after the filming was completed, Fabia told him that it was the most effective therapy that she had ever undergone. Participatory film-making as dialogue: Koriam’s Law Yet another ‘way of doing’ ethnographic film authorship in a

in Beyond observation
Jonathan Atkin

Realm Act, for admitting authorship, via a letter to The Times, of his article (published anonymously by the N.C.F. on 19 April) defending Ernest Everett, a teacher and member of the Liverpool branch of the N.C.F. sentenced to two year’s hard labour. Russell used the very public opportunity of his hearing before the Lord Mayor on 5 June to declare that, along with respect for the individual conscience, the tradition of liberty was the ‘supreme good’ that Great Britain had produced, the inference being that both were under direct threat from the authorities who

in A war of individuals
Open Access (free)
Collecting contacts with Gabrielle Enthoven
Kate Dorney

Confederates, written with established playwright and theatre manager H. M. Harwood and performed at the Ambassadors Theatre in 1930, are well documented in her correspondence.41 We can interpret this in several ways: first as determination to be paid for her theatrical work and to be able to claim professional status for herself in that regard: authorship is clearly not within the realms of the reciprocal work with her theatrical networks described above. Second, the determination of a wealthy woman not to be taken advantage of, particularly when working in partnership with

in Stage women, 1900–50
Steve Sohmer

, ‘Shakespeare and Others: The Authorship of Henry the Sixth Part One ’, Medieval and Renaissance Drama in England 7 ( 1995 ), 145–205. 29 Marlowe’s Tamburlaine and Kyd’s Spanish Tragedy inspired any number of bloody sequents, e.g. Robert Greene’s Alphonsus King of

in Reading Shakespeare’s mind
Open Access (free)
Balancing the self in the twentieth century
Mark Jackson and Martin D. Moore

of balanced diets, have not been fully explored in terms of either authorship or readership. This chapter traces the history of healthy eating in the second half of the twentieth century in terms of the advice offered by the authors of self-help books in the USA and the UK. By including American authors, the chapter examines the transatlantic nature of programmes for balance, comparing advice about obesity and dieting, exploring the cultural authority of celebrity dietitians and assessing the degree of knowledge exchange between the two countries. In doing so, it

in Balancing the self
Birgit Lang

, Freud valued Sadger’s role in the early dissemination of psychoanalytic knowledge. The importance of understanding Sadger’s early explorations into the realm of literature cannot be overstated, since these forays explain much about his later standpoint in the debates about authorship within the WPV during the early 1900s. Secondary literature perceives Sadger predominantly as a conservative force within these debates, as the contrarian ∙ 63 ∙ A HISTORY OF THE CASE STUDY pathographer either unable or unwilling to understand Freud’s perspective – and who, according to

in A history of the case study
Leopold von Sacher-Masoch’s Venus im Pelz (1870)
Birgit Lang

dem Wunsche, dass sie der Wissenschaft dienen mögen.’ Krafft-Ebing, Neuere Forschungen, 1st edition, 1890, p. 28. 30 Oosterhuis, Stepchildren of Nature, p. 174f. Oosterhuis interprets the following quote from Mr X’s autobiography to ascribe the authorship of the term ‘maso­ chism’ to Mr X: ‘I believe to have proven that what we want to call masochism is an independent occurrence’. The German original reads, ‘Ich glaube somit dargethan [sic] zu haben, dass das, was wir Masochismus nennen wollen, als eine selbstständige Erscheinung existirt [sic]’. Krafft

in A history of the case study
Kirsti Bohata, Alexandra Jones, Mike Mantin and Steven Thompson

’ (‘The Convalescent’s Room’) in a local newspaper until his death in 1892.73 The authorship of this column, which focused on a range of issues including the state of local trade and industries, the struggles between Anglicanism and nonconformity, local and national politics, and other social and cultural issues, was itself an involvement in, and contribution to, the public sphere of ideas, discourse and discussion. Not every convalescent miner could enter the public world through journalism or publication, of course, but Eos Wyn’s column suggests another way in which

in Disability in industrial Britain
Eric Pudney

Shakespeare scholars who disputed Shakespeare’s authorship of the insufficiently serious (and worryingly superstitious) witchcraft scenes, the feelings behind these two different objections are perhaps related: the witches are just not serious enough. But Purkiss’s objection seems misguided to me, particularly in blaming the singing and dancing of the witches for undermining their seriousness in Macbeth. It is surprising for Purkiss to criticise the play on these grounds, since her own ground-breaking work highlights the fact that ‘real’ witchcraft could be all-singing and

in Scepticism and belief in English witchcraft drama, 1538–1681