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Clear All
Susan Manning

seductions of literature: in the ‘Autobiographical Fragment’, which he composed in 1808 and revised in 1826, he described his continuing delight in Did Mark Twain bring down the temple? 9 the ballads of chivalry, the ‘Delilahs of [his] imagination’ guiltily enjoyed in secret beyond boyhood.4 In Life on the Mississippi, published a little over sixty years after Ivanhoe in 1883, Mark Twain delivered an indictment of sorcery on Scott himself, via the literary seduction his novels had wrought on the imagination of the American South: Then comes Sir Walter Scott with his

in Special relationships
Open Access (free)
Gertrude Stein and Alfred North Whitehead
Kate Fullbrook

his modest autobiography is a mere essay. This has left the record of his opinions of personal encounters somewhat sketchy. For Whitehead on Whitehead see ‘Autobiographical Notes’, in The Philosophy of Alfred North Whitehead, ed. Paul Arthur Schilpp, The Library of Living Philosopher, New York, Tudor Publishing Company, 1951, pp. 1–14. Stein, Toklas, pp. 167, 165, 166, 167. Stein, Everybody’s Autobiography, p. 89. Stein, Toklas, pp. 206–8. Wagner-Martin, ‘Favored Strangers’, pp. 123. Alfred North Whitehead, Science and the Modern World, London, Macmillan, 1925, p

in Special relationships
Open Access (free)
Reading SimCity
Barry Atkins

story of the shipwrecked Alexander Selkirk. Most critics, however, have identified a different and more chap5.p65 127 13/02/03, 14:23 128 More than a game complex relationship with the real in Robinson Crusoe than that location in simple autobiographical or biographical reference. This has never been a text read solely as ‘about’ one individual, whether that individual is defined as Defoe, Crusoe, or Selkirk, but as a text that says much about the cultural moment of its production – whether in terms of faith, individualism, or capitalism. When Karl Marx read

in More than a game
Open Access (free)
Towards a contemporary aesthetic
Jonathan Dollimore

by vested interests. But my argument is not just that Hesse’s humanism is untenable and unpersuasive Art in time of war 41 now, ‘after Auschwitz’, but that it was already so at the time in which he proposed it. In fact, I believe it hardly survived the insight of autobiographical works of his own like Steppenwolf. Without doubting Hesse’s sincerity, I’ve often wondered whether other artists haven’t always paid lip service to the humanist defence of art by way of licensing an aesthetic vision which they knew contravened it. One is reminded in this connection of

in The new aestheticism
Translatina world-making in The Salt Mines and Wildness
Laura Horak

conveys a sense of community, but not of each woman as an individual. While Tsang is interested in their stories and collaborating with some of them, their thoughts and feelings are ultimately filtered through Tsang. In her analysis of Tsang’s attempts to counter Paris is Burning’s ‘mistakes’, Eve Oishi similarly concludes that, ‘While a self-​conscious foregrounding of the filmmaker and the apparatus can open up a critical space for the viewer, the proliferation of autobiographical and self-​reflexive representations means that this technique does not inoculate a film

in The power of vulnerability
Women performers and the law in the ‘long’ Edwardian period
Viv Gardner

”’, in Martin Banham and Jane Milling, eds, Extraordinary Actors, Exeter: Exeter University Press, pp. 97–119. Gardner, Viv (2004b), ‘The Three Nobodies: Autobiographical Strategies in the Work of Alma Ellerslie, Kitty Marion and Ina Rozant’, in Maggie B. Gale and Viv Gardner, eds, Auto/biography and Identity: Women, Theatre and Performance, Manchester: Manchester University Press, pp. 10–38. Gillan, Don, www.stagebeauty.net. Gillies, Midge (2001), Marie Lloyd: The One and Only, London: Orion Books. Hindson, Catherine (2011), ‘“Mrs Langtry seems to be on the way to a

in Stage women, 1900–50
Open Access (free)
Actresses, charity work and the early twentieth-century theatre profession
Catherine Hindson

and at other fashionable fundraising events are, without doubt, interwoven with questions related to autobiographical strategies, the significance of anecdotal evidence to historiography and the construction of public selves which have preoccupied feminist theatre historiographers over the past two decades (see Gale and Gardner, 2004). Photographs, interviews and gossip columns allowed theatre’s stars to offer tantalising glimpses of their ‘offstage’ selves at closed social occasions, including dinner parties, house parties and salons, and at public events including

in Stage women, 1900–50
Aurélie Griffin

unnamed narrator of the romance, Urania, Liana, and Alanius. See Urania, pp. 158–60, 196–98. 31 Philip Sidney, The Old Arcadia, ed. by Katherine Duncan-Jones (Oxford: Oxford University Press, 1985), p. 64 and pp. 140–42 in particular. On the identification of Philisides to Philip Sidney, see Dennis Moore, ‘Philisides and Mira: Auto­biographical Allegory in The Old Arcadia’, Spenser Studies, 3 (1982), pp. 125–37. 32 Mary Wroth, ‘Love’s Victory’, in Early Modern Women’s Writings. An Anthology 1560-1700, ed. by Paul Salzman (Oxford: Oxford University Press, 2000), pp. 82

in The senses in early modern England, 1558–1660
Open Access (free)
Beckett and anxiety
Russell Smith

brain and the heart and other caverns where thought and feeling dance their sabbath’.22 By the same token, however, it would be wrong to assume that this statement, or any other of the above statements, give licence to read Beckett, and particularly his postwar work, in narrowly autobiographical terms, simply as a form of confession – or worse, therapy – at either an explicit or an unconscious level. Nevertheless, I think there are good reasons for taking Beckett at his word here, and examining the role of ‘feeling’ in his work. This is particularly timely because

in Beckett and nothing
James Thompson

performance pieces – almost in homage to a Brechtian desire to make visible the mechanics that makes the theatre possible. In a straightforward way, there was an honesty about the structures of care that were needed to make this particular performance possible, which acted as a commentary on the way theatre more usually hides the means by which the performers are supported in order to come on to, and stay safe, onstage. There was no independent, entirely autonomous autobiographical performer here, but a person acutely aware of their own vulnerability and joyously presenting

in Performing care