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.
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.
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→
by Clare Pettitt, Professor of Nineteenth Century Literature and Culture, Department of English
“Dissent clearly varies in terms of seriousness”, says Ian Hislop, the guest curator of the British Museum’s new exhibition. It certainly does.I Object: Ian Hislop’s search for dissent throws together a peculiarly Hislopian blend of public school scatological gags and objects and images that record acts of resistance under totalitarian regimes that may have resulted in the torture and/or death of their makers. The stakes are vertiginously uneven, and as a result, the exhibition frequently runs into problems of tone.
As curator, we encounter a thoughtful and knowledgeable Hislop, respectful of other cultures and alert to injustice and cruelty in the world. But as presenter, we encounter more of a fnarr fnarr chortler: “Gillray knew what would sell a print – sex, the royal family and fashionable shoes”, he chuckles, or “Have workmen on building sites always been keen on sexual commentary?” It is an interesting problem. Amnesty International meets Finbarr Saunders meets the British Museum, and the result is often confusing, but never boring.
For some time, we have wanted to try and find a way to talk across our research in bodies, queer lives and intimacy. Both situated in the English Department at King’s and with desks next to one another in a small communal postgraduate research room, we have been speaking about how intimacy, its pleasures and its discontents, has long preoccupied the work of writers and artists.
In Virginia Woolf’s Mrs Dalloway, for example, intimacy is a locus of change, growth and transformation: ‘there had risen up a lovely tree in the brisk sea-salted air of their intimacy (for in some ways no one understood him, felt with him, as Clarissa did)—their exquisite intimacy’. Through intimacy, Woolf radically connects feeling to knowledge and self-understanding. However, intimacy here is also elusive. For the two former lovers, it is part of the air, atmospheric and ineffable. Continue reading close: letter #1→
by Acatia Finbow, Collaborative Doctoral Award Student, University of Exeter and Tate.
‘Performance/Museums/Practice’ is a monthly research seminar which considers the overlapping and intersecting practices around performance and museums, in all their complexity and richness. It is an interdisciplinary group, open to academics, practitioners, and those with a general interest in the topics, and seeks to stimulate discussion and debate around these areas of research.
The first session, held at King’s on December 4th 2017, considered ‘Collaborations and the Expansion of Performance’. The seminar usually involves two key texts and one case study which form the basis for the conversation during the seminar. In this first session, we looked at Simon Martin’s ‘Painting the Stage and Screen: Burra and Performance’, Robert S. Mattison’s essay on ‘Sleep for Yvonne Rainer’, and looked at the work by Robert Rauschenberg, ‘Sleep for Yvonne Rainer’, currently in the collection of the Museum of Modern Art, New York.
In a time of Trump, Brexit and increasing separatist ideology, we three intrepid King’s travellers – Dr Emrys Jones, Charlotte and I -crossed the pond. And not without incident in the shape of an unexpected night stranded in NYC. Somewhat weary and dishevelled, we finally met with our partners from the University of North Carolina in a communal spirit of defiance. Our mission was twofold: firstly to foster collaboration between our two institutions strengthening a long tradition of friendship; secondly, to take part in a wide range of research activities, including a renowned conference run by the British Women Writers Association (BWWA), which UNC were hosting this year.
The conference theme of ‘Generations’ struck me as particularly apt for our trip. Not only did it reflect the historic and continued links between our two universities and nations, but also the sense of boundless generative creativity amongst different peoples across both time and place…
The conference saw a host of different cohorts of researchers coming together from various fields, and this same diversity was reflected in the historic lives of the many women writers under discussion. We heard some wonderful keynotes, including a talk from Andrew Stauffer on flowers and Victorian female reader reception as well as a fascinating joint speech from leading Elizabeth Barrett Browning scholars Marjorie Stone and Beverly Taylor on the “collaborative energies” of women writers.
by Lucy Munro, Reader in Early Modern English Literature at the Department of English, and Emma Whipday, Leverhulme Early Career Fellow at UCL
In 1624, a play entitled The Late Murder in Whitechapel, or Keep the Widow Waking was staged at the Red Bull playhouse in Clerkenwell. Written by Thomas Dekker, John Ford, William Rowley and John Webster, it was based on accounts of two recent crimes. The first was the murder of a Whitechapel woman, Joan Tindall, by her son, Nathaniel, which became the subject of at least two ballads, one of which survives. The second was the forced marriage of a 62-year-old widow, Anne Elsdon, to a much younger man, Tobias Audley.
Tobias lured Anne to a tavern, where he plied her with alcohol and tried to persuade her to promise to marry him – a promise that could be legally binding if it was said before witnesses. After several days he eventually seems to have got some kind of agreement from her, and a priest hired for the purpose married them. However, the ‘marriage’ became the subject of a series of cases in the secular and religious courts.
The Dear Diaryexhibition is now open, until 7th July! Promotion got underway well before opening, with various radio features including Radio 2’s Jonathan Ross Show on 4th May, and BBC London, Monocle Radio, Radio Oxford and other outlets; on 3rd June, I take Dear Diary to Radio 4’s Saturday Live show (listen from 9:00 BST).
One publicity commission was for the Sunday Times series ‘6 of the Best’. I thought long and hard and put together a list only to discover that ‘Best’ is determined by what the picture editor thinks can be illustrated best. Several suggestions hit the cutting room floor. One was British artist Ian Breakwell’s visual diary – an idea I owe to Lucy Bayley, a PhD student at the ICA (thank you, Lucy). You can see a selection of Breakwell’s work at the Tate, including The Walking Man Diary (1975-1978).
A diary’s lure of intimacy…
Breakwell has made various experiments with the diary form. One of the most compelling is the photographic diary he made of an unknown man who regularly walked past Breakwell’s flat in Smithfield in the City of London, where from his third floor window the artist was often looking out. The images all have the same vantage point and the same mysterious subject; the passing of time is captured through the diary unevenly, so that some photographs are taken seconds apart while others are separated by months. The resulting pattern of similarity and difference, heightened by collage, plays with a diary’s lure of intimacy: by denying us even incremental knowledge, Breakwell makes his diary intriguingly baffling.
Another suggestion was W.P. Barbellion, The Journal of a Disappointed Man (1919). This diary has an extraordinary story. The author’s real name was Bruce Cummings; he made his pseudonym from Wilhelm, Nero and Pilate as examples of the most wretched people to have lived.Continue reading Leaves of Silk→
From the Department of English at King's College London