Goldsmiths, University of London: Journals Online
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‘Golden threads in the sober city woof’: London and the First Women Writers of The Yellow Book
Full text linkOf the eighteen writers whose work appeared in the inaugural volume of The Yellow Book, only three were women: Ella D’Arcy (1857-1937), ‘George Egerton’ (Mary Chavelita Dunne, 1859-1945), and ‘John Oliver Hobbes’ (Pearl Richards Craigie, 1867-1906). This article considers the London publishing context within which D’Arcy, Egerton, and Hobbes wrote their pieces that were included in that first issue of the new magazine in April 1894. The women’s representations of London in each of their works are discussed in relation to their common portrayal of artistic characters who must make and potentially mistake their way in its contemporary metropolis
Lavinia Greacen (Ed.), Military Maverick: Selected Letters and War Diary of ‘Chink’ Dorman-Smith
Full text linkAfrican manpower statistics for the British Forces in East Africa, 1914-18: a reassessment
Full text linkThis article offers a new estimate for the number of soldiers and carriers raised from across East Africa who died in British imperial service during the East Africa campaign of the First World War. It does this by examining and challenging figures present in the historiography and returns to contemporary records to provide meaningful data on which to base new calculations
‘The Presiding Spirit of this Tempest’: A Profile of General Sir James Leith (1763–1816)
Full text linkThis article assesses the life, career, and character of Peninsular War General Sir James Leith (1763–1816). Compared with many of his peers, Leith is an overlooked figure, whose episodes in the forefront of events are punctuated by periods of obscurity. Hitherto he has been portrayed without depth, complexity, or nuance solely as an archetypal Napoleonic-era warrior. The latter part of General Leith’s career, however, found him in a more equivocal situation, that of soldier-turned-colonial administrator. Recent scholarship has begun to pursue a more comprehensive approach to figures of Leith’s ilk. Nevertheless, a narrowly myopic, or ‘Victorian’, approach to military historiography has died hard. Numerous Wellingtonian lieutenants who evolved into architects of empire, including Benjamin D’Urban, John Colborne, Harry Smith, and Stapleton Cotton, to name just a few, lack modern, multi-dimensional reassessments, and James Leith is of their number. This article aims to bring facets of both General Leith’s soldiering and his colonial governing into clearer, contemporary focus
Two Hundred Years of British Army Casualties and Statistics
Full text linkThis paper covers the evolution of medical statistics on the Army from the early nineteenth Century to the present day. Although several policies during this period described the importance of medical statistics for the planning and management of military health services, there have been problems with collecting and analysing medical data at the beginning of the First World War, the Second World War, and the campaigns in Iraq and Afghanistan. The paper considers the key features and analytical reports that have been shown necessary to report on the health of the Army and activities of the medical services in peace and war
Yellow Book Women: Guest Editors’ Introduction
Full text linkIn Spring 2022, the British Association of Decadence Studies together with the University of Surrey hosted a series of Jeudis talks on women whose work intersected with the iconic fin-de-siècle quarterly periodical The Yellow Book (1894-1897). Although many women of The Yellow Book are gradually receiving increasing critical attention, these seminars provided the first opportunity for a multidisciplinary discussion of the lives and works of women who contributed in various ways to the periodical. The Jeudis sessions encouraged a consideration of the connections and dialogues between these women, drawing out their networks and communities, and exploring how The Yellow Book represented a cornerstone of their careers
How were the Yellow Book women lost?
Full text linkVirginia Woolf did not appear a comfortable figure as she addressed the students of Newnham College on a bright but windy October day in 1928. The 200 young women in Clough Hall saw a tall, sad-eyed, long-faced woman.[i] She sat on a stage in a hall at a table illuminated by a reading light, alert and ‘sensitively nervous’, speaking of the loss to literature of female exclusion in history.[ii] She famously called up the image of Shakespeare’s sister who had all the attributes of her brother but was female, and so instead of gaining riches and lasting fame by her pen, came to grief. Woolf formulated the main problem as a power imbalance between femaleness and maleness, of the comparative denial of income and privacy between women and men. She proposed a counter-history of women and the interior life, suggesting it as if it were a recent literary discovery, while praising selected women writers of the past. As Talia Schaffer notes, Woolf’s lecture, later expanded into A Room of One’s Own (1929), ignored the recent generation of women writers altogether; ‘her feminist historiography leaps from Charlotte Brontë straight to her own contemporaries’.[iii]
[i] Hermione Lee, Virginia Woolf (Vintage, 1997), p. 564.
[ii] Lee, Woolf, p. 566.
[iii] Talia Schaffer and Kathy Alexis Psomiades, Women and British Aestheticism (University of Virginia Press, 2000), p. 13
Review: Ocean Hester Stefan Chillingworth, Blood Show, Battersea Arts Centre, 12-23 November 2024: Transition, violence, and the choreographic
Full text linkOcean Hester Stefan Chillingworth and Craig Hamblin face one another. Ocean is covered from head to toe in fake blood: an exuberance of concocted liquid pain. Craig is caked in clown white. They stand within an arm’s distance of each other; noiseless, expectant. Craig raises his hand to check the quality of the gap between them, one of the many gestures which comprise the durational score that both dancers will repeat on loop throughout the performance. A breath. Suspension. Until the sickening crack of contact breaks the silence. A slap, which moves them both into the concussive rhythm of a sequence of fight choreography which rotates around the space. Navigating a set of modernist design pieces – a white sofa, a white potted plant, a large white rug, a small white table on which sits a water urn (filled with blood) and plastic cups (to hold this blood) – the performers describe broken noses, teeth clamping down into flesh, knees colliding with ribs. As they move there is a transfer of sweaty materiality, red streaks across Craig’s neck, marks on the back of his white jumpsuit where Ocean held on for balance, painting the objects and one another as, negotiating the planar folds of bodies in motion, or redirecting force to sketch the trajectory of a wound, they leave traces. Simultaneously, they offer to us the tender revelation of flesh and musculature underneath blood red, bone white. Two bodies begin to heave and sweat alabaster, sweat crimson, under the heat and pressure of death
