Dr. Michael Collins, Senior Lecturer in Twentieth-Century American Literature and Culture in The School of English, chatted with the curator Carrie Scott about Feinstein’s work and legacy, American photography at mid-century, and the place of optimism in art.
Susan Bennett is University Professor in the Department of English, University of Calgary, Canada. She is widely published across a variety of topics in theatre and performance studies, including Theatre Audiences (1997), Theatre & Museums (2013) and Sound (2019).
Sonia Massai is Professor of Shakespeare Studies at King’s College London, UK. She has published widely on the history of the transmission of Shakespeare in print and in performance. She is currently working on a new book on Shakespeare’s Accents: Voicing Identity in Performance and preparing a new edition of Richard III for the Arden Shakespeare.
by Aga Serdyńska. Aga is a Modern Literature and Culture MA student with an avid interest in all things Victorian.
The Shows of London Nineteenth-Century Group brings together academics and postgraduates at King’s and the Courtauld Institute to discuss the literary, visual and audio cultures of nineteenth-century London. In the final research seminar of this term, ‘Docks, Ships and Shows: Maritime Cityscapes and Spectacle’, Joanna Hofer-Robinson (UCC) and Oskar Cox Jensen (QMUL) sparked a thought-provoking discussion about the textual and visual depictions of London docks, which also raised broader questions about methodology in the study of arts and humanities. Continue reading Docks, Ships and Shows: Maritime Cityscapes and Spectacle→
Fiona Anderson is a Lecturer in Art History in the Fine Art department at Newcastle. Her work explores queer social and sexual cultures and art from the 1970s to the present with a particular focus on cruising cultures, the HIV and AIDS crisis, queer world making practices, and the politics of urban space. Here, Fiona speaks to Mark Turner about her new book, Cruising the Dead River: David Wojnarowicz and New York’s Ruined Waterfront (University of Chicago Press, 2019).
Mark Turner is a Professor of Nineteenth and Twentieth-Century Literature in the English Department at King’s. He is the author of Trollope and the Magazines (2000), Backward Glances: Cruising the Queer Streets of New York and London (2003), and recently co-edited, with John Stokes, a major new edition of Oscar Wilde’s journalism for Oxford University Press. He has written about queer urban cultures and curated ‘Derek Jarman: Pandemonium’ at Somerset House in 2014. Mark is currently working on a project about the American gallerist Betty Parsons and her queer artists, particularly Forrest Bess. He co-founded the Queer@King’s research centre with colleagues in Arts and Humanities in 2003-4.
Katie Arthur is a PhD student in English at King’s researching the relationship between queerness and obscenity in the works of William Burroughs and John Waters.
Disability+Intersectionality is a fortnightly reading group based at King’s College London where members meet to discuss key texts in critical disability studies, situating them within the broader context of the humanities and social sciences. Each session will focus on a theme and explore how disability intersects with categories such as gender, race, sexuality, and class.
Christina Lee is a second-year PhD student in the Department of English and a co-organiser of Disability+Intersectionality. In this post she reflects on lessons from the reading group and what intersectionality means to her.
At the Intersection
I am terrified of intersections. There is something about the open space in the middle that petrifies me. Once, while I was trying to cross the road, a car suddenly turned right and the driving instructor – sitting next to the learner in the passenger seat – stuck his head out of the window to rail at me for being on the road. I was actually on the pavement a few seconds before and left to cross to the right. I did not go on the pavement because it was too narrow and had poorly cut curbs. He didn’t want to listen and continued to insist I should be on the pavement. Eventually they drove off, though not before he proclaimed that I ought to be run over by a car. This is what I used to think of when I hear ‘disability’ and ‘intersection’.
Pavements, sidewalks, footpaths, are designed for pedestrians, people who use their feet and walk with an easy, steady stride without canes, crutches or prosthetics.
Dr Warner’s third monograph, Chaucer’s Scribes: Medieval Textual Production, 1384-1432, was published by Cambridge University Press in 2018. He is also undertaking a new critical edition of Sir Gawain and the Green Knight. He is recipient of the 2016 Beatrice White Prize of the English Association for outstanding scholarly work in the field of English Literature before 1590, and Honorable Mention for the Richard J. Finneran Award for 2013, awarded by the Society for Textual Scholarship.
Christine received her PhD from King’s in November 2018 and is now a Research Fellow in the English Department at the University of Warwick. Christine’s supervisors at King’s College London were Jane Elliott and John Howard. Her PhD was examined by Nicole King (Goldsmiths) and Celeste-Marie Bernier (Edinburgh). As part of the Leverhulme funded project ‘World Literature and Commodity Frontiers: The Ecology of the ‘long’ 20th Century’ run by Mike Niblett (Warwick) and Chris Campbell (Exeter), Christine is writing a monograph tentatively entitled The Novel of Extraction.
Harriet is a PhD student in the English department and co-editor of the King’s English blog.
Harriet Thompson (HT): I wanted to start by congratulating you on completing your PhD last year. The catalyst for our conversation was the news that you’ve recently been awarded one of only six Elsevier Outstanding PhD Thesis Prizes granted at King’s in January 2019, and the only award granted to a thesis in the Faculty of the Arts and Humanities. I know your thesis explores the integration of African immigrant literature into the economic, political, and cultural fabric of the United States. I wonder if you could talk about how your research relates to ongoing debates about the value of migration and particularly the issue of which migrant persons are deemed valuable or disposable?
Christine Okoth (OK): Thank you so much – I’m still quite shocked that I even have a PhD let alone that my examiners thought it was good enough for a prize! In what is probably a familiar tale, I had no idea what my thesis would eventually become when I started at King’s in 2014. It all started with Lisa Lowe’s Immigrant Acts, a book that I encountered during my masters and that remains my favourite academic monograph. In it, Lowe develops a theory of Asian American political and cultural production as a kind of antithesis to the American national project. The history of Asian exclusion, which, by the way, isn’t taught nearly widely enough in UK universities, serves as the backdrop to Lowe’s argument. The idea that immigration legislation relates closely to the position that cultural production by immigrants holds within the U.S. nation-state stayed with me. I wanted to ask more questions about how the sudden popularity of African migrant literature – Adichie’s Americanah and Teju Cole’s Open City for example – related to shifts in U.S. immigration legislation. These novels weren’t exactly narratives of exclusion but are instead emergent genres of integration that take place against the backdrop of a changing political discourse around immigration.
PhD researchers in the English department organise many conferences throughout the year. We asked current PhD researcher Julian Neuhauser, co-organiser of “The Early Modern Inns of Court and the Circulation of Text” with newly-minted Dr Romola Nuttall, to reflect on what inspired the conference and the various other events that are set to take place this summer.
By Julian Neuhauser, PhD candidate in the English Department
Since their establishment in the 14th century, the Inns of Court have been at the centre of legal scholarship and practice. Thought of as the ‘third university’, the Inns attracted graduates of Oxford and Cambridge who wanted to professionalise as lawyers and politicians. These student members of the Inns brought with them the habits and forms of sociability that they learned at university, including their socio-literary activities.
In order to investigate the literary history of the Inns of Court, I have been co-organising, along with Romola Nuttall (who defended her thesis at King’s in 2018), a conference called “The Early Modern Inns of Court and the Circulation of Text”. The conference will pull together cutting edge, materially-grounded, and culturally critical literary scholarship about the Inns, and we are also arranging a whole host of events around the papers and keynotes.
Romola was keen that we think about how to incorporate the Inns’ tradition of holding revels into our program. Revels were opulent and mirthful events, held annually around Christmas. They included lavish dinners, student run plays, and flyting – that is, combative (though usually well-spirited) extemporaneous oral jousting.
On the occasion of a particularly riotous Middle Temple revel in 1598, the poet and Middle Temple man Sir John Davies smashed a cudgel (like a Quidditch beater) over the head of fellow poet and lawyer Richard Martin. The event resulted in Davies’ ban from Middle Temple, but it also prompted him to return to New College, Oxford and, perhaps as an act of self-reflective contrition, compose his poem Nosce Teipsum (‘Know Thyself’, check out an excerpt here.) Continue reading Presenting the Early Modern Inns Of Court and the Circulation of Text→
“I was photographed three times a week[,] for which I received a settled income…
Two famous dressmakers, one in London and one in Paris, dressed me for nothing, and a famous English designer called her models after me and made my clothes at a very nominal fee…
My picture advertised all sorts of wares, and face creams and soaps, and I gave advice in all the papers on how to keep healthy and beautiful and young. If I had followed the regime I laid down, I could never have finished in the twenty-four hours…”
So writes Constance Collier in her 1929 memoir Harlequinade, reflecting on her time as a ‘Gaiety girl’ on the 1890s Strand. On 8 February, I’ll be talking about Collier as part of an event at the London Transport Museum, themed around London love stories, representing the Centre for Life-Writing Research’s Strandlines project (an online archive of stories about ‘life on the Strand, past, present and creative’ – do contribute if you haven’t already…). I’ll be describing how Collier and her co-stars won the hearts of late Victorian Londoners with a series of racily contemporary ‘musical comedies’ combining cutting-edge fashions, romantic spins on everyday scenarios and saucy/sentimental songs. Pitched somewhere between ‘legitimate’ theatre and burlesque, musical comedies turned Gaiety impresario George Edwardes into a very rich man and many of his ‘girls’ into household names. Continue reading Reinventing Stardom on the Strand→
by Ruth Padel, Professor of Poetry. Emerald, published by Chatto & Windus, is her 11th poetry collection.
“Never be afraid of saying you like poetry,” Jeremy Corbyn told thousands of people at Glastonbury in 2017, after reciting the end of Percy Bysshe Shelley’s ‘The Masque of Anarchy‘:
“Rise like lions after slumber … / Shake your chains to earth like dew … / Ye are many, they are few”.
Shelley wrote that poem – an apocalyptic vision of Britain’s destructive, corrupt, hypocritical rulers – after the Peterloo massacre in 1819, when the cavalry charged a peaceful crowd listening to speeches on parliamentary reform. Fifteen people died. “I met Murder on the way/ He had a mask like Castlereagh/ Very smooth he looked, yet grim;/ Seven blood-hounds followed him”.
In the following stanzas, the foreign secretary, prime minister and lord chancellor of the day accompany Lord Castlereagh, the leader of the House of Commons, through the groaning land, along with Anarchy, Shelley’s name for capitalism. The procession is stopped by a young woman called Hope (who “looked more like Despair”), who lay down in front of the horses.