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The figure of Christopher Columbus was a key trope in the programming for the BBC's Latin American Service (LAS) and West Indian Service during the Second World War. This paper analyzes four dramas and one feature program from the 1940s that not only dramatize events from Columbus's life but also reflect the contemporary broadcast context by promoting British war interests and showcasing Latin American and Caribbean histories and geographies. These commemorative programs are broadly hagiographic, but they also reveal the BBC's awareness of how Latin American and West Indian audiences might variously respond to portrayals of Columbus and European colonization. Using radiogenic strategies including immersive aurality, the interplay of different historical narratives, and multivocality, these programs reveal the relationships between the BBC's institutional aims in overseas broadcasting and Latin American and West Indian program creators' literary and political goals. The portrayals of Columbus in the 1940s served an allegorical and ultimately propagandistic purpose, demonstrating the role of faith and perseverance amid turbulence and conflict, and inducing, by analogy, sympathy for Britain's war effort. The authors commissioned to write, produce, and deliver these dramas were not simply responding to propaganda guidelines; they were responding to the demands of the corporation and the war effort while also pursuing their own commitments and literary ambition. Ultimately, the scripts produced by the BBC for broadcast to the Americas reveal Columbus and his voyages as polysemic symbols of the regions' relationship to their past and their relationships to Europe in the twentieth century. [ABSTRACT FROM AUTHOR]

After World War II, British jazz fans and critics looking to better understand the genre stimulated a demand for blues records; this market expanded further as first Trad jazz, then skiffle and British R&B launched a British blues revival. Major labels like Decca and Pye offered major US urban blues and soul artists, but the specialty market, dominated by connoisseurs interested in a wider variety of artists and eras, was underserved by the major labels. Thus, committed blues lovers took matters into their own hands. This paper will survey the turbulent independent blues record scene in Britain from the late 1940s to the early 1970s, an ever-changing kaleidoscope of labels with colorful names, shadowy origins, lofty goals, and often surprising founders. Dozens of British musicians, critics, and collectors founded labels, licensing (or bootlegging) materials for reissue, importing 45s from the United States and reselling them in Britain, or recording new material for exclusive release. Many of these small concerns, reissuing rarities and recordings by artists outside the commercial mainstream, were labors of love rather than serious commercial enterprises. Their limited-edition discs were marketed directly to their target audience, and label owners rarely did more than break even. Most only issued a handful of recordings, though in the process they revived the stalled careers of US blues singers, provided much-needed income and support to older artists, and introduced Britain to a wider variety of blues. [ABSTRACT FROM AUTHOR]

This paper reconstructs levels of cinemagoing in Britain over the two decades preceding the first accepted estimates of the national audience, which were produced in 1934. It uses the receipts from the tax on entertainments, levied by British governments starting in 1916, to examine the impact of broader developments, from war to major economic downturns, and radical changes within the industry itself with the introduction of sound technology. A significant discontinuity is identified in the emergence of the talking picture, which worked to broaden and deepen support for the cinema, confirming it as the dominant mass entertainment form of the period. [ABSTRACT FROM AUTHOR]

This article examines the exhibition and reception of Kinemacolor in Russia from 1910 to 1916. Kinemacolor was a British method of filming and projecting in natural color invented by George Albert Smith and financed by Charles Urban, a US-born entrepreneur; film historians generally regard it as the most commercially viable color process before the outbreak of war in 1914. The article investigates Urban's interest in Russia as a potential market for Kinemacolor and as a source of interesting filmic material. In addition to identifying the extent of Kinemacolor's exhibition and distribution in Russia between 1910 and 1916, it also examines the Russian subjects filmed by Urban's companies in black and white and color, and identifies two occasions (1909 and 1913) on which Tsar Nikolai II and Tsarina Aleksandra Fedorovna were filmed in Kinemacolor. The article argues that the reception of Kinemacolor was widespread and diverse, and included members of the Russian imperial family and the Bolshevik leader, Vladimir Lenin. It references the specialist film-trade press in Britain, Russia, Europe, and North America; theater listings in Britain and Russia; and contemporary reports on Kinemacolor exhibitions in the British and Russian media. The article also draws upon the extensive archive of Urban's private papers, which is currently preserved in Bradford's National Science and Media Museum. [ABSTRACT FROM AUTHOR]

This paper analyzes the history, membership, and rules of the Heath Book Club operating near Wakefield, Yorkshire, in the 1850s in order to gain insight into the lives of readers during the Victorian period. Members included several wealthy landowners, clergymen, and other prominent residents, as well as a few professionals and one tradesman. As members of a book club, readers had access to otherwise hard-to-attain books. As a social network, the book club may have provided additional economic, social, or political returns to the members. [ABSTRACT FROM AUTHOR]

This paper explores the contingent and affective dimensions of genre in Victorian criticism on the ballad. Aesthetic judgments comprise an important part of the historical meta-discourse surrounding literary genres, yet these categories occupy only a marginal position in our present theories of genre. The terms of aesthetic judgment tend to fall out when we tally historical genres' discursive conventions and map their formal and thematic contours. In contrast, Victorian literary criticism's dependence on the language of feeling, not only in describing individual works but also in shaping generic taxonomies, provides an opportunity to consider the ways in which the seemingly irreducible particularities of aesthetic experience meet the generalizing force of genre. [ABSTRACT FROM AUTHOR]

This paper focuses on the enormous growth of contract in the public sector over the last twenty years as part of the development of the "new public management." In the United Kingdom, the most penetrating assessment of the significance of this growth for the law of contract, its theory and its use, is Peter Vincent-Jones's The New Public Contracting, the thrust of which has been the basis of Vincent-Jones's contribution to this issue, The New Public Contracting: Public versus Private Ordering? In this paper, the author examines the welfarism of public sector contracting by means of a comment on Vincent-Jones's excellent account of the contractualization of the public sector. [ABSTRACT FROM AUTHOR]

The thesis of this paper is that governments of some otherwise enlightened states are increasingly fearful of acknowledging the restraints imposed on them by existing international law. They are also reluctant to enter into new commitments by way of international conventions that would expand the reach of international law. The paper asks whether these fears are based on a true understanding of international law or on some distorted view of it. It will draw comparisons and some contrasts between Australia and the United States in their reactions to a number of recent events as well as to some enduring situations of contemporary relevance. Had time (and the limits of my research) permitted, one might also have examined public attitudes toward international law in China, Japan, and Russia in this context, where similar fears appear to be entertained. France, Germany, Italy, and the United Kingdom, also enlightened states, appear by contrast to belong to a group more dedicated to international law. As Robert Kagan has recently remarked, the experience of two world wars at close quarters, and the formation of the European Union, have made the European countries more dedicated to process, where the United States is more interested in results. [ABSTRACT FROM AUTHOR]

This paper discusses George Henry Lewes's study of living matter in The Physiology of Common Life (1859-60). Despite the physiological materiality of its subject, Lewes's text often discusses states of life that defy clear-cut classification. The process of human aging is a particularly confounding example of life and death's indeterminacy because, as Lewes describes, older age invokes both the physiological and aesthetic intermingling of animal life with stone, petrifaction, and minerality. I argue that Lewes's discussion of aging in Chapter XIII draws directly from the earlier geological research of Charles Lyell and, with brief reference to illustrative examples elsewhere in Victorian writing, I show the ways in which the Lewesian understanding of aging as a state of suspension between animality and minerality is reliant upon and a spur for the nineteenth-century literary imagination. [ABSTRACT FROM AUTHOR]

At just after six in the evening on 16 June 1851, a balloon carrying two passengers narrowly avoided crashing into the transept of the Crystal Palace. This near-disastrous balloon ascent was the result of just one of the popular entertainments that sprang up to capitalize on the crowds of visitors to the Great Exhibition of the Works of Industry of All Nations in London in 1851. Despite the fact that on this occasion popular entertainment and didactic recreation almost literally collided, histories of the Exhibition have kept the two separate. It is notable that today the Great Exhibition is most often studied through sources such as Dickinson's Comprehensive Pictures of the Great Fxhibition of 1851 (1852), the Art Journal Illustrated Catalogue (1851), or the Illustrated London News, all aimed at middle-class audiences. However, cheap broadside ballads also commented on the Exhibition and offer alternative perspectives on the event. This paper focuses on these neglected sources and reads them within a broader network of literary and visual sources. [ABSTRACT FROM AUTHOR]

The Campbells have the potential to offer much to the theme of literature and borders, given that the kindred's astonishing political success in the late medieval and early modern period depended heavily upon the ability to negotiate multiple frontiers: between Highlands and Lowlands, between Gaelic Scotland and Ireland, and, especially after the Reformation, with England and the matter of Britain. This paper explores the literary dimension to Campbell expansionism, from the Book of the Dean of Lismore in the earlier sixteenth century, to poetry addressed to dukes of Argyll in the earlier eighteenth century. Particular attention will be paid to the literary proclivities of the household of the Campbells of Glenorchy on either side of what appears to be a major watershed in 1550; and to the agenda of the Campbell protégé John Carswell, first post-Reformation bishop of the Isles, and author of the first printed book in Gaelic in either Scotland or Ireland, Foirm na n-Urrnuidheadh (The Form of Prayers), published at Edinburgh in 1567. [ABSTRACT FROM AUTHOR]

This paper argues that Victorian Shakespeare burlesques reveal an alternate literary history: a movement away from private, novelistic consciousness toward collaborative performance. Many materialist scholars fault post-Romantic critics for casting Shakespeare as a psychological realist and reading his plays as if they were novels. The burlesque treatment of Hamlet's soliloquies, however, suggests a contrary trajectory, challenging the equation of Shakespearean character with psychological reflection. Rather than inaugurating a tradition of interiority, Hamlet's soliloquies generate social speech in works like Gilbert's Rosencrantz and Guildenstern, inviting audience participation. The burlesque imperative also inflects novels like Dickens's Great Expectations, turning the internal debate of the canonical literary self into the public dispute of populist entertainment. [ABSTRACT FROM AUTHOR]

Conceptions of progress abounded in the Victorian period, and works of intellectual history were instrumental in illustrating and interrogating the laws of the progressive development of modern societies. Among the axioms that informed progressive historiography was the 'intellectualist' assumption of the privileged and incremental historical agency of speculation, knowledge, and ideas. This paper considers the role of John Stuart Mill's System of Logic (1843) in shaping an intellectualist paradigm in Victorian liberal historiography. It focuses on Leslie Stephen's methodological reflections in the History of English Thought in the Eighteenth Century (1876), which it analyzes in terms of a revision of Mill's concept of regulative ideas that suggests how intellectual history was fully caught up in the mid-Victorian 'crisis of reason.' [ABSTRACT FROM AUTHOR]

Prior to 1914, Albany Ward (1879-1956) was the operator of the largest cinema circuit in England. He had entered the film business with Birt Acres in 1896, but soon branched out on his own as a traveling exhibitor, eventually acquiring 29 theatres in the western part of England and Wales. Using materials in the collection of the Albany Ward family, this paper documents the pre-war career of one of Britain's early motion picture showmen. The article also discusses the establishment of the Ward Film Service in 1912. [ABSTRACT FROM AUTHOR]

This article looks at approaches to film acting in 1930s British Cinema by examining the papers of the actor Robert Donat (1905-1958), now housed in the Donat Archive in the John Rylands University Library, Manchester. Using Donat's original documents, particularly the 'The Emotion Chart', that was used in preparation for his role in The Citadel (MGM, 1938), it argues that film acting methodologies in Britain were developed from the cross-fertilisation of stage acting and existing film acting practice. [ABSTRACT FROM AUTHOR]

Presents an introduction to articles on the Great Britain early motion picture industry. An 1895 interview of Thomas Blair shows that he was equally interested in the potential of celluloid roll-film for both still cameras and moving image devices. Gerry Turvey's paper explores a period of British film history when the main genre was non-fiction. John Barnes discusses the film "Mary Jane's Mishap" in 1902. Richard Brown explores the economic impetus which drove the early film industry, in relation to films of the Boer War. The restoration of the Mitchell and Kenyon collection by the British Film Institute is attributed to scholar Vanessa Toulmin's persuasive arguments for its national importance. Jon Burrows has managed to find new sources of early film history in the form of London, England's council and metropolitan police records.