School of Culture and Communication - Research Publications
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ItemEliza Haywood’s progress through the passions(Palgrave, 2015)Passionate motifs—usually the passion of love and the dangerous consequences of hyper-emotionality—pervade Eliza Haywood’s early novellas. This repetition of emotionality and the sustained analytical voice which comments on the episodes of her fictional stories create a kind of emotional philosophy. There are clear rules for emotional living in Haywood’s texts, and in her works the passions provide structure for an eighteenth-century notion of individuality. By examining "Reflections on the Various Effects of Love" (1726) and "Life’s Progress through the Passions; or the Adventures of Natura" (1748), Hultquist demonstrates that, over this twenty-two year span, Haywood creates a discourse for and a theory of the passions, an authentic way of living passionately, in a fictional narrative form.
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ItemBringing order to the passions: Eliza Haywood’s fiction, 1719 and 1748(Routledge, 2015)The conversation surrounding the importance, significance, and use of the passions reached a kind of fevered pitch in the eighteenth century, the supposed Age of Reason. By the early eighteenth century, the passions were generally understood as something to be governed by reason. Another philosophy of thought on controlling the passions existed: ordering the emotions through emotional organization rather than “reasonable” control. The work of Eliza Haywood—a prolific eighteenth-century author, actress, playwright, translator, and publisher—is a particularly fertile place to examine feeling in fictional form. Haywood provides a different framework for understanding the passions—that the passions themselves, rather than reason, bring order to the passions. This understanding of the passions places reason and feeling in slightly different terms, terms that are far less hierarchical than has been assumed. This chapter argues that Eliza Haywood’s discussions of emotion in her fiction theorizes a particular mode of ordering the passions, not through reason, but through emotion, a dialogue that is in conversation with the sustained emotional discourse of how to shape emotion in the eighteenth century.
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ItemCreole space: Jamaica, rehabilitation and British literature(Ashgate, 2014)Eighteenth-century literature is replete with threats of removal to Jamaica for those women who have fallen on morally dubious times. It is possible to read this pattern as sending the damned to a damned place as a way to preserve the metropole, but as with any space so saturated with contradiction, Jamaica can sometimes allow certain women to regain their moral standing, just as masculine characters regain their financial or social prominence. Sometimes Jamaica is a space that recuperates the fallen female. Though analysis of "A Trip to Jamaica," Edward Ward (1698), William Pittis’s "The Jamaica Lady" (1719), Delarivier Manley’s “The Physician’s Stratagem” (1725), Samuel Richardson’s "Pamela" (1741), Eliza Haywood’s "The History of Miss Betsy Thoughtless"(1751), Edward Long’s "History of Jamaica" (1774), and Sophia Lee’s "The Recess" (1783) this chapter examines the power of Jamaica as a creolized space—a place in which several contradicting realities exist—to argue that such a space can be read as socially and morally redemptive, a locale with the power to allow female characters to remake themselves.
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ItemAbsent children and the emergence of female subjectivity in Haywood’s "The British recluse" and "The city jilt"(AMS Press, Inc., 2015)This paper examines the trope of still-birth in Haywood’s The British Recluse, and how that trope functions as an emblem of one of the ways in which the amatory heroine creates a viable “personhood” outside of the traditional roles for women in the eighteenth-century: virgin, wife, mother, or widow. Haywood can imagine alternatives to the social structures and roles cast upon women who explore areas of themselves that compromise their virtue, but she cannot make them exist within the social structures that seduce, ruin, and discard them—even if they are able to maintain or regain their reputation as virtuous women in the end.
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ItemMarriage in Haywood; or, amatory reading rewarded(Lehigh University Press, 2011)By reading Eliza Haywood more widely and considering works that bridge her career, it becomes clear that a drastic reformation in style and theme did not really occur between Haywood's early and later publications. Because she never converted from an amatory aesthetic to a didactic one, her later fiction demands interpretation. This essay considers the way in which the treatment of marriage figures into Haywood's work, in order to argue that her too perfect plot resolutions point out the problems of the marriage convention for women in eighteenth-century fiction. The article rereads the marriage convention in "Love in Excess," then reads Haywood's advice on marriage in Book 2 of "The Female Spectator" and finally reinterprets the ending of "The History of Miss Betsy Thoughtless" to demonstrate how Haywood writes her own version of the domestic novel.
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ItemWomen in uniform: dress and performance in medieval court culture(Routledge, 2014)When women gather together to perform in such tournaments or take part as a group in other ritual performances associated with courtly culture, they raise intriguing questions about the late medieval understanding of femininity, feminine subjectivity, and feminine sexuality, especially when their identity is marked so decisively by heraldic or matching clothing. In this chapter I will explore some of the social meanings of this phenomenon.
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ItemLiterature as regime (meditations on an emergence)(Manchester University Press, 2002)At the beginning of Joseph Roth’s novel The Radetzky March a young infantry lieutenant, seeing the Emperor accidentally put himself in danger in the course of the battle of Solferino, pushes him to the ground and receives the bullet intended for the Supreme War Lord. Many years later, now a captain and ennobled, Joseph Trotta finds in his son’s school reader an account of this incident.
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ItemRealising Middle-earth: production design and film technology(Manchester University Press, 2008)Miniatures, bigatures, digital mattes, 3D animation, costume, set and prop design, forced perspective, location and studio shoots all contributed to the creation of Middle-earth. The panoply of visual effects LOTR uses to build Middle-earth’s image has become familiar, not just from the films but also from television specials, websites, DVD appendices and commentaries, and the remarkable travelling Exhibition. Armour, prosthetics, stunt and miniature doubles, animal wranglers, blue screen, and the Massive intelligent agents are part of our language now. Weta Workshop and Weta Digital, with their army of collaborators did more than visualise the most-read – and most-imagined – book of the twentieth century. They realised the script, made real the fictional world where the narrative would take place. The challenge of realisation is in some sense the challenge of cinema itself – the French even use the word réalisation to describe filmmaking. Realising Middle-earth is both a technical challenge and a special kind of problem in realism, the aesthetic field dealing with depictions of reality (as in documentary) and the illusion of reality (as in dramatic fiction). Most complicated of all is the realisation of a world whose highest technology, the explosive device in the culvert of the Deeping Wall, is portrayed as the work of Saruman’s dark arts. Tolkien’s hatred of industrialisation comes through in the firepits of Isengard. Yet the films depend on the use of and innovation in new media technologies, and much of our viewing pleasure comes from appreciating the craft that has gone into them. We watch entranced by a double magic: the fascination of illusion, and the fascination of how it has been achieved.
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ItemThe six faces of piracy: global media distribution from below(Greenwood Publishing Group, 2008)In current debates about media piracy, illegal copying either looms large as scourge and scandal or is talked up as the way of the future. This essay seeks to shift the focus away from the ethics of piracy and towards its broader contexts - its legal history, its economic functions, and its implications for information distribution on a global scale. Through a series of six different readings of piracy (piracy as theft, free enterprise, free speech, authorship, resistance, and access), I argue that we should understand it as, among other things, an alternative distribution system for media, one of considerable complexity and potential. Piracy's "cockroach capitalism" seeks out profits in markets untouched or underserviced by formal media institutions, providing in many cases the only available forms of film culture. From this perspective, piracy is not simply, or not only, a form of deviant behaviour but may also offer routes to development and cultural citizenship.
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ItemCodecs and capability(Institute of Network Cultures, 2008)What makes a YouTube video good? Maybe it is the political tenor, or perhaps you like the ethics. Perhaps it looks nice. Or it’s funny. Perhaps a YouTube video is good when it reaches a lot of people. But the great thing about the internet is that it allows every minor interest, every academic specialism, every rare and refined hobby a place, so the numbers really don’t matter in the same way as the old media. Everyone has had that lovely serendipitous moment when you find exactly the right piece of data, exactly the right image, on the site dedicated to collecting photos of old street lights or the history of dye-transfer techniques. Popularity isn’t in question. Looking nice, being funny, politics, even ethics are pretty much personal opinion in the globally connected, rapid and fragmentary culture of the internet post-2002. It may be better to ask what makes a YouTube video bad. Then we have some answers. Slow download. Too much fuzz in the image or the soundtrack. Stutter. Technical qualities are what make a bad video. Things that go wrong, like using a pine green title on a black background. There is always a workaround, an optimal way of using the tool that’s available, but the tool has to be available, and a network tool has to be as nearly universally available as it can if it is to permit the serendipitous discovery of the lone like soul to yours among the billion pages.
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