This book offers a spatial history of the decades in which women entered the universities as students for the first time. Through focusing on several different types of spaces – such as learning spaces, leisure spaces, and commuting spaces – it argues that the nuances and realities of everyday life for both men and women students during this period can be found in the physical environments in which this education took place, as declaring women eligible for admittance and degrees did not automatically usher in coeducation on equal terms. It posits that the intersection of gender and space played an integral role in shaping the physical and social landscape of higher education in England and Wales in the late-nineteenth and early-twentieth centuries, whether explicitly – as epitomised by the building of single-sex colleges – or implicitly, through assumed behavioural norms and practices.

Drawing on activist campaign literature and materials, broadcast media, and new oral history interviews, Severs reconstructs and discusses the overlooked world of radical AIDS activism in England. This book provides one of the first detailed histories of the radical HIV/AIDS movement in England, following ACT UP's travels from New York to London via prominent queer intellectuals, and reconstructing the vibrant theatrical campaigns staged by ACT UP groups across England. Radical Acts explores expressions of activism that were far more common than demonstrations and marches. Manifestations of a political commitment to ameliorating the injustices facing people living with HIV permeated most aspects of everyday life. These forms of 'everyday activism' played out in workplaces, universities and church halls across England, as well as through networks that stretched across Europe and North America. This book breaks new ground by studying the radical alongside the everyday, presenting a diverse constellation of activist responses to the epidemic.

Lady Mary Derby (1824-1900) occupied a pivotal position in Victorian politics, yet her activities have largely been overlooked or ignored. This volume places Mary back into the political position she occupied and offers the first dedicated account of her career. Based on extensive archival research, including hitherto neglected or lost sources, this study reconstructs the political worlds Mary inhabited. Her political landscape was dominated by the machinations and intrigues of high politics and diplomacy. As Jennifer Davey uncovers, Mary's political skill and acumen were highly valued by leading politicians of the day, including Benjamin Disraeli and William Gladstone, and she played a significant role in many of the key events of the mid-Victorian era. This included the passing of the Second Reform Act, the formation of Disraeli's 1874 Government, the Eastern Crisis of 1875-1878, and Gladstone's 1880-1885 Government. By exploring how one woman was able to exercise influence at the heart of Victorian politics, this book considers what Mary's career tells us about the nature of political life in the mid-nineteenth century. It sheds new light on the connections between informal and formal political culture, incorporating the politics of the home, letter-writing, and social relations into a consideration of the politics of Parliament and Government. It provides a rich investigation of how a woman, with few legal or constitutional rights, was able to become a significant figure in mid-Victorian political life.

At the turn of the twentieth century—during the “protectorate” period of British occupation in Egypt—theaters and other performance sites were vital for imagining, mirroring, debating, and shaping competing conceptions of modern Egyptian identity. A central figure in this diverse spectrum was the effendi, an emerging class of urban, male, anti-colonial professionals whose role would ultimately become dominant. Acting Egyptian argues that performance themes, spaces, actors, and audiences allowed pluralism to take center stage while simultaneously consolidating effendi voices. From the world premiere of Verdi’s Aida at Cairo’s Khedivial Opera House in 1869 to the theatrical rhetoric surrounding the revolution of 1919, which gave women an opportunity to link their visibility to the well-being of the nation, Acting Egyptian examines the ways in which elites and effendis, men and women, used newly built performance spaces to debate morality, politics, and the implications of modernity. Through scripts, playbills, ads, and numerous other sources, the book brings to life provocative debates and dissent that fostered a new image of national culture and echoed urban life in the struggle for independence.

Modern Murders is the first comprehensive study of murder representations during the turn of the century, drawing on previously neglected archival material to explore the intellectual, cultural, and artistic contexts of the period. Most studies view the abundance of murder representations throughout the nineteenth century as an indicator of a supposedly typical Victorian appetite for sensation and melodrama. Modern Murders, however, demonstrates the turn of the century's backlash against melodramatic and sensational representations of murder and reads them as an important component in the struggles for better aesthetic standards in art and entertainment, and as a dominant feature in the debates on mass culture. Through a plethora of visual and written texts, representations of fictional and actual "real life" murders, and "high" and "popular" forms of writing, the volume considers the importance of murder in the elite claim to cultural authority versus its perception of plebian taste, in the context of the democratization of culture. This book will be of value to scholars and graduate students in a variety of research areas, as well as general readers interested in the role of murder as a central trope in modern art and culture.

Article abstracts and citations of reviews and dissertations covering the United States and Canada.

A Cultural History of Sport in the Age of Industry covers the period 1800 to 1920. Over this period, sport become increasingly global, some sports were radically altered, sports clubs proliferated, and new team games - such as baseball, basketball and the various forms of football - were created, codified, commercialized, and professionalized. Yet this was also an age of cultural and political tensions, when issues around the role of women, social class, ethnicity and race, imperial relationships, nation-building, and amateur and professional approaches were all shaping sport. At the same time, increasing urbanization, population, real wages and leisure time drove demand for sport ever higher, and the institutionalization and regulation of sport accelerated. The 6 volume set of the Cultural History of Sport presents the first comprehensive history from classical antiquity to today, covering all forms and aspects of sport and its ever-changing social, cultural, political, and economic context and impact. The themes covered in each volume are the purpose of sport; sporting time and sporting space; products, training and technology; rules and order; conflict and accommodation; inclusion, exclusion and segregation; minds, bodies and identities; representation. Mike Huggins is Emeritus Professor at the University of Cumbria, UK. Volume 5 in the Cultural History of Sport set General Editors: Wray Vamplew, Mark Dyreson, and John McClelland

When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.

This collection of essays systematically explores how a sample of political groupings not founded on suffrage reacted and accommodated the issue of suffrage within their official discourses and structures. The volume leads to the heart and core of suffragism while examining the dynamics and versatilities of the Edwardian political fabric.