DOCSLIB.ORG

“He Hath Mingled with the Ungodly”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“He Hath Mingled with the Ungodly” ―HE HATH MINGLED WITH THE UNGODLY‖: THE LIFE OF SIMEON SOLOMON AFTER 1873, WITH A SURVEY OF THE EXTANT WORKS CAROLYN CONROY TWO VOLUMES VOLUME I PH.D. THE UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2009 2 ABSTRACT This thesis focuses on the life and work of the marginalized British Pre-Raphaelite and Aesthetic homosexual Jewish painter Simeon Solomon (1840-1905) after 1873.This year was fundamental in the artist‘s professional and personal life, because it is the year that he was arrested for attempted sodomy charges in London. The popular view that has been disseminated by the early historiography of Solomon, since before and after his death in 1905, has been to claim that, after this date, the artist led a life that was worthless, both personally and artistically. It has also asserted that this situation was self-inflicted, and that, despite the consistent efforts of his family and friends to return him to the conventions of Victorian middle-class life, he resisted, and that, this resistant was evidence of his ‗deviancy‘. Indeed, for over sixty years, the overall effect of this early historiography has been to defame the character of Solomon and reduce his importance within the Aesthetic movement and the second wave of Pre-Raphaelitism. It has also had the effect of relegating the work that he produced after 1873 to either virtual obscurity or critical censure. In fact, it is only recently that a revival of interest in the artist has gained momentum, although the latter part of his life from 1873 has still remained under- researched and unrecorded. Therefore, the function of this thesis is to re-evaluate Solomon‘s life after his arrest in 1873 and reveal what actually happened to the artist during the final thirty-three years of his life. It does this primarily through a unique study and examination of newly identified archival documents and information. By examining, in particular, the original nineteenth- century records that relate to his arrest in London, and those that record a virtually unknown arrest in Paris in 1874, and putting this in the context of nineteenth-century sodomy law and male homosexual society, it is possible to re-consider Solomon‘s previously misunderstood resistance to sexual and societal rehabilitation. It makes use of a new critical understanding, which now suggests the non-repentance of the previously seen tragic figure of the homosexual male in Victorian society, which was promoted in part by the Oscar Wilde trials of 1895. The study of the detail of Solomon‘s later life within this thesis will support these new ideas by promoting the suggestion of the artist as self- consciously queer and unapologetic. In addition, this thesis includes, for the first time, a survey of Solomon‘s works produced after 1873, which help to provide an approximation of how active Solomon was artistically; suggest what kind of media he was using during certain periods; record who was continuing to buy Solomon‘s work at this time, and to make the images of Solomon‘s extant work available to future researchers. These extant images appear in Volume II of this thesis. 3 TABLE OF CONTENTS Page Volume I Abstract 02 List of Illustrations 04 Acknowledgements 23 Introduction 24 I 1873: The London Arrest, the Question of the Asylum, and Gossip 52 II 1873: Solomon‘s Whereabouts and the Trip to Devon 87 III 1874 – 1878: The Arrest in Paris, Cleopatra‟s Needle, (1877), Hollyer, and Hardship 105 IV 1879 – 1883: First Admission to the Workhouse, Dalziel Brothers‘ Bible Gallery (1881), and the Burglary 136 V 1884 – 1887: The Workhouse, Sins of the Cities of the Plain (1881), and Count Stenbock 164 VI 1888 – 1896: Johnson, Horne and Hollyer 197 VII 1897 – 1905: The Casual Ward and Death 231 Postscript 245 Conclusion 250 Appendix 1: Work in Exhibitions Post-1873 253 Appendix II: Work by Solomon Post-1873 without Images 262 Appendix III: Solomon Prints by Frederick Hollyer 267 Bibliography: i. Primary Sources: Unpublished 268 ii. Primary Sources: Published 270 iii. Secondary Sources. 285 Volume II Illustrations 4 LIST OF ILLUSTRATIONS 1. Simeon Solomon, 1873, from a letter to Mrs Tong dated 30 January 1873, University of Rochester, Manuscript Collection. 2. David Wilkie Wynfield, Simeon Solomon in Fancy Dress, circa 1870, Photograph, Royal Academy, London. 3. Simeon Solomon, A Jewish King and his Page (The Acolyte), 1873, Dublin City Art Gallery, watercolour, 216x216mm. (www.hughlane.ie). 4. Simeon Solomon, Greeks Going to a Festival, 1873, Dublin City Art Gallery, watercolour, 216x216mm. (www.hughlane.ie). 5. Simeon Solomon, The Bride, 1873, Dublin City Art Gallery, watercolour, 381x168mm. (www.hughlane.ie). 6. Simeon Solomon, The Bridegroom, 1872, Dublin City Art Gallery, watercolour, 381x168mm. (www.hughlane.ie). 7. Simeon Solomon, The Voice of my Beloved that Knocketh, 1873, Location Unknown, watercolour, 497x343mm. (Reynolds, 1985, Pl 66). 8. Simeon Solomon, Allegorical Self Portrait, 1873, Minneapolis Institute of Arts, watercolour, gouache and gum Arabic over red chalk, heavy watercolour paper, 355x227mm. (www.artsmia.org). 9. Simeon Solomon, Night, 1873, Priv Coll, drawing on paper, 298x445mm. (www.leicestergalleries.com). 10. Simeon Solomon, Study, Female Figure, 1873, City of Manchester Art Galleries, watercolour and oil on paper, 250x151mm. (www.manchestergalleries.org). 11. Simeon Solomon, Study of a Woman with Red Hair, 1873, Priv Coll, watercolour/paper, 170x170mm. (www.bloomsburyauctions.com). 12. Six-Place Urinal, Place de le Bourse, Paris, about 1875-78. (Sibalis, 1999, p20). 13. Simeon Solomon, King Solomon, 1874, The National Gallery, Washington, egg tempera on paper mounted on board, 495x295mm. (www.nga.gov). 14. Simeon Solomon, A Bishop of the Eastern Church, 1874, private collection, watercolour and bodycolour on paper, 305x220mm. (Cruise, 2005, p138). 15. Simeon Solomon, Pomona, 1874, Barry Friedman Ltd, New York, drawing, 445x305mm. (Reynolds, 1985, Pl 67). 16. Frederick Hollyer after Simeon Solomon, Love Confronted by Death, 1874, Birmingham Museums & Art Gallery, platinotype, 232x357mm. (Cruise, 2005, p174). 5 17. Frederick Hollyer after Simeon Solomon, Until the Day Break and the Shadows Flee Away, 1874, Birmingham Museums and Art Galleries, platinotype print, 325x253mm. (www.preraphaelites.org). 18. Simeon Solomon, Until the Day Break and the Shadows Flee Away, 1869, British Museum, Graphite and black chalk, with bodycolour and red chalk, 129x154mm. (www.britishmuseum.org). 19. Simeon Solomon, Aaron with the Scroll of Law, 1875, Southampton City Art Gallery, oil on canvas, 290x140mm. (Cruise, 2005, p140). 20. Simeon Solomon, David Mourning Absalom, 1875, Private Collection, 241x114mm. (Werner, 1966, p50). 21. Simeon Solomon, Seven Cherubs Dancing, 1875, The Jewish Museum, red chalk, size unknown. (Burman, 2001, p48). 22. Frederick Hollyer after Simeon Solomon, Spartan Boys about to be Scourged at the Altar of Diana, 1865, Priv Coll, platinotype, dimensions unknown. (Reynolds, 1985, Pl. 40). 23. Simeon Solomon, Amor, 1877, Priv Coll, black chalk, 229x178mm. (Sotheby‘s, 1996a, p186). 24. Frederick Hollyer after Simeon Solomon, Consecration of the King from the Song of Songs, 1878, Jewish Museum, London, platinotype, 278x184mm. (www. jewishmuseum.org.uk), 25. Frederick Hollyer after Simeon Solomon, Captivity of the Bride from the Song of Songs, 1878, Jewish Museum, London, platinotype, 278x184mm. (www.jewishmuseum.org.uk). 26. Frederick Hollyer after Simeon Solomon, The Calling of the Bride from the Song of Songs, 1878, Jewish Museum, London, platinotype, 278x184mm. (www.jewishmuseum.org.uk) 27. Frederick Hollyer after Simeon Solomon, The Invitation of the Bride from the Song of Songs, 1878, Jewish Museum, London, platinotype, 278x184mm. (www.jewishmuseum.org.uk), 28. Frederick Hollyer after Simeon Solomon, Desire of the Bride from the Song of Songs, 1878, Jewish Museum, London, platinotype, 278x184mm. (www.jewishmuseum.org.uk). 29. Frederick Hollyer after Simeon Solomon, The Nuptials of the King from the Song of Songs, 1878, Jewish Museum, London, platinotype, 278x184mm. (www.jewishmuseum.org.uk). 30. Frederick Hollyer after Simeon Solomon, The Night of the Nuptials from the Song of Songs, 1878, Jewish Museum, London, platinotype, 278x184mm. (www.jewishmuseum.org.uk). 6 31. Frederick Hollyer after Simeon Solomon, The Blessing from the Song of Songs, 1878, Jewish Museum, London, platinotype, 278x184mm. (www.jewishmuseum.org.uk). 32. Simeon Solomon, The Magic Crystal, 1878, City of Manchester Art Galleries, oil on paper, 320x181mm. (www.manchestergalleries.org). 33. Frederick Hollyer, The Book of Ruth, 1879, Jewish Museum, London, six prints with illustrated cover by Simeon Solomon, 278x184mm. (www.jewishmuseum.org.uk). 34. Frederick Hollyer, The Book of Ruth – Then Said Boaz, 1879, Jewish Museum, London, platinotype, after drawing by Simeon Solomon, 278x184mm. (www.jewishmuseum.org.uk). 35. Frederick Hollyer after Simeon Solomon, Call me not Naomi from The Book of Ruth, 1879, Jewish Museum, London, platinotype, 278x184mm. (www.jewishmuseum.org.uk). 36. Frederick Hollyer, The Book of Ruth – But Ruth Clave onto her, 1879, Jewish Museum, London, platinotype, after drawing by Simeon Solomon, 278x184mm. (www.jewishmuseum.org.uk). 37. Frederick Hollyer, The Book of Ruth – So Boaz Took Ruth, 1879, Jewish Museum, London, platinotype, after drawing by Simeon Solomon, 278x184mm. (www.jewishmuseum.org.uk). 38. Frederick Hollyer, The Book of Ruth – And Naomi took the Child, 1879, Jewish Museum, London, platinotype,
Load more

Recommended publications
  • HOUSE of REPRESENTATIVES Sought the Presidency in 1940
    1952 CONGRESSIONAL RECORD - HOUSE 1143 ident supply in public life. He was a vision­ NOMINATION OF HAR~ A. McDONALD, until tomorrow. Wednesday, February ary and a realist, a conservative and a lib­ TO BE ADMINISTRATOR OF RFC-RE­ 20, 1952, at 12 o'clock meridian. eral, an independent thinker never afraid of PORT OF A COMMITTEE the unorthodox or the unconventional. "I won't be dropped into a mold. I want to be Mr. MAYBANK. Mr. President, from CONFIRMATION a free spirit," he said. He was as American the Committee on Banking and Curren­ as the countryside of his n ative Indiana, and cy, I report favorably the nomination of Executive nomination confirmed b~ America could do with more men like Wen­ Harry A. McDonald, of Michigan, to be the Senate, February 19 (legislative day dell Willkie. Administrator of the Reconstruction of January 10), 1952: CANAL ZONE . Mr. BRIDGES. Mr. President, I am Finance Corporation. The nomination was ordered reported by the committee Rowland Keough Hazard, of Rhode Island, glad to associate myself with the Sen­ to be district attorney for the Canal Zone. ator from Illinois in his remarks com­ by a vote of 7 to 3. The PRESIDING OFFICER <Mr. LEH­ mendatory of Wendell Willkie. It was MAN in the chair). The nomination will my privilege to be an enthusiastic and b~ received and placed on the Executive active supporter of Mr. Willkie when he Calendar. HOUSE OF REPRESENTATIVES sought the Presidency in 1940. My friendship with him continued until his TUESDAY, FEBRUARY 19, 1952 EX:i:CUTIVE REPORTS OF COMMITTEES death, and I agree with the Senator from The House met at 12 o'clock noon.
    [Show full text]
  • The Art of Victorian Photography
    THE ART OF VICTORIAN Dr. Laurence Shafe [email protected] PHOTOGRAPHY www.shafe.uk The Art of Victorian Photography The invention and blossoming of photography coincided with the Victorian era and photography had an enormous influence on how Victorians saw the world. We will see how photography developed and how it raised issues concerning its role and purpose and questions about whether it was an art. The photographic revolution put portrait painters out of business and created a new form of portraiture. Many photographers tried various methods and techniques to show it was an art in its own right. It changed the way we see the world and brought the inaccessible, exotic and erotic into the home. It enabled historic events, famous people and exotic places to be seen for the first time and the century ended with the first moving images which ushered in a whole new form of entertainment. • My aim is to take you on a journey from the beginning of photography to the end of the nineteenth century with a focus on the impact it had on the visual arts. • I focus on England and English photographers and I take this title narrowly in the sense of photographs displayed as works of fine art and broadly as the skill of taking photographs using this new medium. • In particular, • Pre-photographic reproduction (including drawing and painting) • The discovery of photography, the first person captured, Fox Talbot and The Pencil of Light • But was it an art, how photographers created ‘artistic’ photographs, ‘artistic’ scenes, blurring, the Pastoral • The Victorian
    [Show full text]
  • Detestable Offenses: an Examination of Sodomy Laws from Colonial America to the Nineteenth Century”
    “Detestable Offenses: An Examination of Sodomy Laws from Colonial America to the Nineteenth Century” Taylor Runquist Western Illinois University 1 The act of sodomy has a long history of illegality, beginning in England during the reign of Henry VIII in 1533. The view of sodomy as a crime was brought to British America by colonists and was recorded in newspapers and law books alike. Sodomy laws would continue to adapt and change after their initial creation in the colonial era, from a common law offense to a clearly defined criminal act. Sodomy laws were not meant to persecute homosexuals specifically; they were meant to prevent the moral corruption and degradation of society. The definition of homosexuality also continued to adapt and change as the laws changed. Although sodomites had been treated differently in America and England, being a sodomite had the same social effects for the persecuted individual in both countries. The study of homosexuals throughout history is a fairly young field, but those who attempt to study this topic are often faced with the same issues. There are not many historical accounts from homosexuals themselves. This lack of sources can be attributed to their writings being censored, destroyed, or simply not withstanding the test of time. Another problem faced by historians of homosexuality is that a clear identity for homosexuals did not exist until the early 1900s. There are two approaches to trying to handle this lack of identity: the first is to only treat sodomy as an act and not an identity and the other is to attempt to create a homosexual identity for those convicted of sodomy.
    [Show full text]
  • Council Offices, 8 Station Road East, Oxted, Surrey RH8 0BT [email protected] Tel: 01883 722000, Dx: 39359 OXTED
    Council Offices, 8 Station Road East, Oxted, Surrey RH8 0BT [email protected] Tel: 01883 722000, Dx: 39359 OXTED If calling please ask for Paige Barlow On 01883 732861 Mr Jeremy Stillman 95-97 High Street, E-mail: [email protected] St Mary Cray Orpington Our ref: 2019/1983/NC BR5 3NH Your ref: Date: 31st January 2020 On behalf of Mr. Suresh Patel TOWN AND COUNTY PLANNING (GENERAL PERMITTED DEVELOPMENT) (AMENDMENT) (ENGLAND) ORDER. SCHEDULE 2, PART 3, CLASS M, OF THE TOWN AND COUNTRY PLANNING (GENERAL PERMITTED DEVELOPMENT) (ENGLAND) ORDER 2015 (as amended) Application No. : TA/2019/1983/NC Site : 100 Chaldon Road, Caterham CR3 5PH Proposal : Part change of use of ground from Class A1 use (Retail) to Class C3 use (Residential) to form 1 x 1-bedroom self-contained flat (Prior Notification). I am writing further to the above Notification for a change of use from Class A1(Retail) to Class C3 (dwellinghouses) registered on 12th November 2019. Tandridge District Council, as local planning authority, hereby confirms that PRIOR APPROVAL IS REQUIRED AND IS GIVEN for the proposed development at the above address as described and in accordance with the information that the developer has provided to the local planning authority. INFORMATIVES 1. This written notice confirms that the proposed development would comply with the provisions of Schedule 2, Part 3, Class M of the Town and Country Planning (General Permitted Development) Order (England) 2015 (as amended). 2. The development shall be carried out in accordance with the application details provided to the District Planning Authority by the applicant and scanned on 12th November 2019.
    [Show full text]
  • Records of Bristol Cathedral
    BRISTOL RECORD SOCIETY’S PUBLICATIONS General Editors: MADGE DRESSER PETER FLEMING ROGER LEECH VOL. 59 RECORDS OF BRISTOL CATHEDRAL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 RECORDS OF BRISTOL CATHEDRAL EDITED BY JOSEPH BETTEY Published by BRISTOL RECORD SOCIETY 2007 1 ISBN 978 0 901538 29 1 2 © Copyright Joseph Bettey 3 4 No part of this volume may be reproduced or transmitted in any form or by any means, 5 electronic or mechanical, including photocopying, recording, or any other information 6 storage or retrieval system. 7 8 The Bristol Record Society acknowledges with thanks the continued support of Bristol 9 City Council, the University of the West of England, the University of Bristol, the Bristol 10 Record Office, the Bristol and West Building Society and the Society of Merchant 11 Venturers. 12 13 BRISTOL RECORD SOCIETY 14 President: The Lord Mayor of Bristol 15 General Editors: Madge Dresser, M.Sc., P.G.Dip RFT, FRHS 16 Peter Fleming, Ph.D. 17 Roger Leech, M.A., Ph.D., FSA, MIFA 18 Secretaries: Madge Dresser and Peter Fleming 19 Treasurer: Mr William Evans 20 21 The Society exists to encourage the preservation, study and publication of documents 22 relating to the history of Bristol, and since its foundation in 1929 has published fifty-nine 23 major volumes of historic documents concerning the city.
    [Show full text]
  • Christina Rossetti
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com ChristinaRossetti MackenzieBell,HellenaTeresaMurray,JohnParkerAnderson,AgnesMilne the g1ft of Fred Newton Scott l'hl'lll'l'l'llllftlill MMM1IIIH1I Il'l'l lulling TVr-K^vr^ lit 34-3 y s ( CHRISTINA ROSSETTI J" by thtie s-ajmis atjthoe. SPRING'S IMMORTALITY: AND OTHER POEMS. Th1rd Ed1t1on, completing 1,500 copies. Cloth gilt, 3J. W. The Athen-cum.— ' Has an unquestionable charm of its own.' The Da1ly News.— 'Throughout a model of finished workmanship.' The Bookman.—' His verse leaves on us the impression that we have been in company with a poet.' CHARLES WHITEHEAD : A FORGOTTEN GENIUS. A MONOGRAPH, WITH EXTRACTS FROM WHITEHEAD'S WORKS. New Ed1t1on. With an Appreciation of Whitehead by Mr, Hall Ca1ne. Cloth, 3*. f»d. The T1mes. — * It is grange how men with a true touch of genius in them can sink out of recognition ; and this occurs very rapidly sometimes, as in the case of Charles Whitehead. Several works by this wr1ter ought not to be allowed to drop out of English literature. Mr. Mackenzie Bell's sketch may consequently be welcomed for reviving the interest in Whitehead.' The Globe.—' His monograph is carefully, neatly, and sympathetically built up.' The Pall Mall Magaz1ne.—' Mr. Mackenzie Bell's fascinating monograph.' — Mr. /. ZangwiU. PICTURES OF TRAVEL: AND OTHER POEMS. Second Thousand. Cloth, gilt top, 3*. 6d. The Queen has been graciously pleased to accept a copy of this work, and has, through her Secretary, Sir Arthur Bigge, conveyed her thanks to the Author.
    [Show full text]
  • Mcsporran, Cathy (2007) Letting the Winter In: Myth Revision and the Winter Solstice in Fantasy Fiction
    McSporran, Cathy (2007) Letting the winter in: myth revision and the winter solstice in fantasy fiction. PhD thesis http://theses.gla.ac.uk/5812/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Letting the Winter In: Myth Revision and the Winter Solstice in Fantasy Fiction Cathy McSporran Thesis submitted for the degree of Doctor of Philosophy Department of English Literature, University of Glasgow Submitted October 2007 @ Cathy McSporran 2007 Abstract Letting the Winter In: Myth-Revision and the Winter Solstice in Fantasy Fiction This is a Creative Writing thesis, which incorporates both critical writing and my own novel, Cold City. The thesis explores 'myth-revision' in selected works of Fantasy fiction. Myth- revision is defined as the retelling of traditional legends, folk-tales and other familiar stories in such as way as to change the story's implied ideology. (For example, Angela Carter's 'The Company of Wolves' revises 'Red Riding Hood' into a feminist tale of female sexuality and empowerment.) Myth-revision, the thesis argues, has become a significant trend in Fantasy fiction in the last three decades, and is notable in the works of Terry Pratchett, Neil Gaiman and Philip Pullman.
    [Show full text]
  • Angeli, Helen Rossetti, Collector Angeli-Dennis Collection Ca.1803-1964 4 M of Textual Records
    Helen (Rossetti) Angeli - Imogene Dennis Collection An inventory of the papers of the Rossetti family including Christina G. Rossetti, Dante Gabriel Rossetti, and William Michael Rossetti, as well as other persons who had a literary or personal connection with the Rossetti family In The Library of the University of British Columbia Special Collections Division Prepared by : George Brandak, September 1975 Jenn Roberts, June 2001 GENEOLOGICAL cw_T__O- THE ROssFTTl FAMILY Gaetano Polidori Dr . John Charlotte Frances Eliza Gabriele Rossetti Polidori Mary Lavinia Gabriele Charles Dante Rossetti Christina G. William M . Rossetti Maria Francesca (Dante Gabriel Rossetti) Rossetti Rossetti (did not marry) (did not marry) tr Elizabeth Bissal Lucy Madox Brown - Father. - Ford Madox Brown) i Brother - Oliver Madox Brown) Olive (Agresti) Helen (Angeli) Mary Arthur O l., v o-. Imogene Dennis Edward Dennis Table of Contents Collection Description . 1 Series Descriptions . .2 William Michael Rossetti . 2 Diaries . ...5 Manuscripts . .6 Financial Records . .7 Subject Files . ..7 Letters . 9 Miscellany . .15 Printed Material . 1 6 Christina Rossetti . .2 Manuscripts . .16 Letters . 16 Financial Records . .17 Interviews . ..17 Memorabilia . .17 Printed Material . 1 7 Dante Gabriel Rossetti . 2 Manuscripts . .17 Letters . 17 Notes . 24 Subject Files . .24 Documents . 25 Printed Material . 25 Miscellany . 25 Maria Francesca Rossetti . .. 2 Manuscripts . ...25 Letters . ... 26 Documents . 26 Miscellany . .... .26 Frances Mary Lavinia Rossetti . 2 Diaries . .26 Manuscripts . .26 Letters . 26 Financial Records . ..27 Memorabilia . .. 27 Miscellany . .27 Rossetti, Lucy Madox (Brown) . .2 Letters . 27 Notes . 28 Documents . 28 Rossetti, Antonio . .. 2 Letters . .. 28 Rossetti, Isabella Pietrocola (Cole) . ... 3 Letters . ... 28 Rossetti, Mary . .. 3 Letters . .. 29 Agresti, Olivia (Rossetti) .
    [Show full text]
  • Gay Legal Theatre, 1895-2015 Todd Barry University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 3-24-2016 From Wilde to Obergefell: Gay Legal Theatre, 1895-2015 Todd Barry University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Barry, Todd, "From Wilde to Obergefell: Gay Legal Theatre, 1895-2015" (2016). Doctoral Dissertations. 1041. https://opencommons.uconn.edu/dissertations/1041 From Wilde to Obergefell: Gay Legal Theatre, 1895-2015 Todd Barry, PhD University of Connecticut, 2016 This dissertation examines how theatre and law have worked together to produce and regulate gay male lives since the 1895 Oscar Wilde trials. I use the term “gay legal theatre” to label an interdisciplinary body of texts and performances that include legal trials and theatrical productions. Since the Wilde trials, gay legal theatre has entrenched conceptions of gay men in transatlantic culture and influenced the laws governing gay lives and same-sex activity. I explore crucial moments in the history of this unique genre: the Wilde trials; the British theatrical productions performed on the cusp of the 1967 Sexual Offences Act; mainstream gay American theatre in the period preceding the Stonewall Riots and during the AIDS crisis; and finally, the contemporary same-sex marriage debate and the landmark U.S. Supreme Court case Obergefell v. Hodges (2015). The study shows that gay drama has always been in part a legal drama, and legal trials involving gay and lesbian lives have often been infused with crucial theatrical elements in order to legitimize legal gains for LGBT people.
    [Show full text]
  • DOCTORAL THESIS Carrying Queerness Queerness, Performance
    DOCTORAL THESIS Carrying Queerness Queerness, Performance and the Archive Hunt, Raymond Justin Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 01. Oct. 2021 Carrying Queerness: Queerness, Performance and the Archive by Raymond Justin Hunt, BA, MA A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Drama, Theatre and Performance University of Roehampton 2013 ABSTRACT This dissertation responds to the archival turn in critical theory by examining a relation between queerness, performance and the archive. In it I explore institutional archives and the metaphors of the archive as it operates in the academy, while focusing particularly on the way in which queerness may come to be archived. Throughout I use the analytic of performance. This work builds on and extends from crucial work in Queer studies, Performance Studies and Archival Studies.
    [Show full text]
  • Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
    Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T.
    [Show full text]
  • The Patients of the Bristol Lunatic Asylum in the Nineteenth Century 1861-1900
    THE PATIENTS OF THE BRISTOL LUNATIC ASYLUM IN THE NINETEENTH CENTURY 1861-1900 PAUL TOBIA A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education March 2017 Word Count 76,717 1 Abstract There is a wide and impressive historiography about the British lunatic asylums in the nineteenth century, the vast majority of which are concerned with their nature and significance. This study does not ignore such subjects but is primarily concerned with the patients of the Bristol Asylum. Who were they, what were their stories and how did they fare in the Asylum and how did that change over our period. It uses a distinct and varied methodology including a comprehensive database, compiled from the asylum records, of all the patients admitted in the nineteenth century. Using pivot tables to analyse the data we were able to produce reliable assessments of the range and nature of the patients admitted; dispelling some of the suggestions that they represented an underclass. We were also able to determine in what way the asylum changed and how the different medical superintendents altered the nature and ethos of the asylum. One of these results showed how the different superintendents had massively different diagnostic criteria. This effected the lives of the patients and illustrates the somewhat random nature of Victorian psychiatric diagnostics. The database was also the starting point for our research into the patients as individuals. Many aspects of life in the asylum can best be understood by looking at individual cases.
    [Show full text]