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Frontmatter -- CONTENTS -- ESSAYS -- PROSTITUTES OR PROSELYTES: EIGHTEENTH-CENTURY FEMALE ENTHUSIASTS -- EDMUND BURKE ON MONARCHY: KEYSTONE AND TRIALS OF STRENGTH -- "THESE KINGS OF ME" THE PROVENANCE AND SIGNIFICANCE OF AN ALLUSION IN JOHNSON'S TAXATION NO TYRANNY -- LOCALIZING WOMEN? MARY WOLLSTONECRAFT, BURKA AVENGER, AND THE ADAPTABLE HEROINE -- THE WOMAN, THE POLITICIAN, AND THE WILL: CHARLOTTE SMITH'S LITERARY ASSAULTS ON JOHN ROBINSON, "THE LOWEST RANK OF HUMAN DEGRADATION" -- IN QUOTES: ANNOTATING MARIA EDGEWORTH'S BELINDA -- SPECIAL FEATURE: METAPHOR IN THE POETRY AND CRITICISM OF THE LONG EIGHTEENTH CENTURY -- INTRODUCTION TO THE SPECIAL FEATURE: METAPHOR IN THE POETRY AND CRITICISM OF THE LONG EIGHTEENTH CENTURY -- ORGANIZING POETRY IN THE EIGHTEENTH CENTURY: ANTHOLOGIES AND METAPHOR -- CURVILINEAR THINKING IN THE LONG EIGHTEENTH CENTURY -- FEELING ALLEGORY: AFFECT, METAPHOR, AND MILTON'S EIGHTEENTH-CENTURY RECEPTION -- THE WORLDLINESS OF EDWARD YOUNG AND THE METAPHORICS OF GEORGIAN PATRONAGE -- COLERIDGE AND METAPHOR: CROSSING THRESHOLDS -- BOOK REVIEWS -- Janet Aikins Yount, ed. Clarissa: The Twentieth-Century Response, 1900–1950, 2 vols. Brighton: Edward Everett Root, 2019. Vol. 1: pp. xx + 184. Vol. 2: pp. xv + 526 -- O. M. Brack Jr. and Robert De Maria Jr., eds. The Yale Edition of the Works of Samuel Johnson. Volume 20. Johnson on Demand: Reviews, Prefaces, and Ghost-Writings. New Haven, CT: Yale University Press, 2018. Pp. xl + 632 -- Anthony W. Lee, ed., Community and Solitude: New Essays on Johnson's Circle. Lewisburg, PA: Bucknell University Press, 2019 -- Anthony W. Lee, ed., New Essays on Samuel Johnson: Revaluation. Newark: University of Delaware Press, 2018. Pp. xx + 261 -- Anthony W. Lee, ed., Samuel Johnson among the Modernists. Clemson, SC: Clemson University Press, 2019. Pp. xi + 290 -- Leo Damrosch, The Club: Johnson, Boswell, and the Friends who Shaped an Age. New Haven: Yale University Press, 2019. Pp. vi + 473 -- Samara Anne Cahill, Intelligent Souls? Feminist Orientalism in Eighteenth-Century English Literature. Lewisburg, PA: Bucknell University Press, 2019. Pp. 232 -- Teresa Barnard, ed., British Women and the Intellectual World in the Long Eighteenth Century. London: Routledge, 2015. Pp. 214 -- Trevor Ross, Writing in Public: Literature and the Press in Eighteenth-Century Britain. Baltimore: Johns Hopkins University Press, 2018. Pp. vii + 301 -- Rivka Swenson, Essential Scots and the Idea of Unionism in Anglo-Scottish Literature, 1603–1832. Lewisburg, PA: Bucknell University Press, 2016. Pp. xviii + 329 -- Paul Corneilson, ed., Ballet Music from the Mannheim Court. Part V, Christian Cannabich. Les Fêtes du sérail, and Carol G. Marsh, ed., Angélique et Médor, ou Roland furieux. Recent Researches in the Music of the Classical Era, vol. 3, gen. ed. Neil Zaslaw. Middleton, WI: A-R Editions, 2019. Pp. xxxvii + 207. -- Margaret Jacob, The Secular Enlightenment. Princeton, NJ: Princeton University Press, 2019. 360 pp -- Eve Tavor Bannet and Roxann Wheeler, eds., Studies in Eighteenth-Century Culture, Vol. 46. Baltimore: Johns Hopkins University Press, 2017. Pp. xii + 272 -- Eve Tavor Bannet and Roxann Wheeler, eds., Studies in Eighteenth-Century Culture, Vol. 47. Baltimore: Johns Hopkins University Press, 2018. Pp. xii + 293 -- ABOUT THE CONTRIBUTOR

Anew: to the future, via the past / Alex Farquharson -- Caribbean movements in Britain / David A. Bailey -- Stuart Hall's vernacular modernism / David Scott -- Nature erupts into orchestras of nemesis: the ecological imaginary of the Caribbean / Giulia Smith -- Colour bars and bass cultures, dub aesthetics and Cockney translations: music in the Creole history of Black life in Britain / Paul Gilroy -- Movement of people / a rhythm sequence by Grace Wales Bonner -- Comin rite thru: masquerade and marches, resistance and revolution / Allison Thompson -- Home and away: odysseys, entanglements and acts of resistance / Gilane Tawadros -- Hostile environments and Black geographies / Daniella Rose King.

The title of this thesis, British Mercantile Mysticism, explores the relationship between the rising mercantile outlook among the newly evolving middle and merchant classes in England during the seventeenth century into the later part of the eighteenth. It examines the rise of the new science used in the navigation of the great fleet of the merchant marine. These ideas combined with British culture at the time and other influences such as religion, the world of letters, politics and aesthetics are depicted in William Falconer's poem The Shipwreck (1762). This simple poem can be seen as a microcosm or a reflection of the mindset, aspirations and inspirations that powered the modern and progressive thinking of the eighteenth century in Great Britain. These ideas have since spread to much of the English speaking world (particularly North America, Australia and New Zealand) even to this day.

Cover -- Half Title -- Dedication -- Title Page -- Copyright Page -- Table of Contents -- List of Figures -- List of Music Examples -- Acknowledgements -- List of Abbreviations -- General Editor's Preface -- 1 Introduction: Barbershop singing in the UK -- 2 Ethics and aesthetics: The social theory of barbershop harmony -- 3 The procedures of preservation: Barbershop singing and the invention of tradition -- 4 Ridicule, religion, and the public image of barbershop -- 5 Separate but equal? Sexual politics in the barbershop -- 6 Performance mannerism and the amateur imagination -- 7 Tag-singing: The private face of barbershop -- 8 To 'be' a barbershopper: Theorizing music and self-identity -- 9 Conclusion: Beyond barbershop -- Glossary -- Bibliography -- Index

peer-reviewed ; What can a song text and its performance tell us about society, privilege and the political sphere? Following on from Cashell's (2012) line of argument, I contend that British singer Billy Bragg (1957-) has employed his lyrics and activism to represent the struggles of the International working class and build a counter narrative to discourses which present the capitalist worldview as innate, 'natural' and inevitable. Centered on a deep textual reading of Bragg's song(s) "Ideology" / "The Clashing of Ideologies" (1986; 2006)2, the chapter is organized in five key sections. I begin by discussing the continuing importance of social protest and the use of song as a mechanism of protest. I then present a brief account of Billy Bragg – the artist and activist – to contextualize my analysis of his work. The third section of the chapter reflects on neoliberal understandings of meritocracy in order to situate "Ideology" / "The Clashing of Ideologies" (1986; 2006) as a sonic response to such understanding ; ACCEPTED ; Peer reviewed

Black artists have been making major contributions to the global art scene since at least the middle of the twentieth century. While some of these artists - of African and Caribbean descent - have been embraced at times by the art world, they have mostly been neglected or have not received the recognition they deserve. Taking its starting point as the Windrush-era Caribbean Artists Movement, and considering and contextualising the political, cultural, and artistic climate from which it emerged, this concise introduction showcases the work of seventy Black-British artists from the 1930s until the present. Artworks in a range of media offer a lens through which to understand some of the events and issues confronted and explored, shedding light on the unique Black-British experience. Constructed around contemporary ideas on race, national identity, citizenship, gender, class, sexuality and aesthetics in Britain, this book interrogates themes at the heart of Black-British Art, revealing art in dialogue with a complex past and present. Featuring some of the most prominent and influential Black-British artists of recent decades, as well as less well-known artists, it also includes work from a new generation of artists at the forefront of contemporary art. At a time when visibility within the art world has taken on a renewed urgency, this is a timely and accessible introduction celebrating Black-British artists and their outstanding contribution to art history

This article develops my existing published work on The Fall, which seeks to examine the consequences of Mark E. Smith's classed, educational and regional formation on the band's aesthetics and politics. I think through these latter categories both as they unfolded during The Fall's post-punk peak and as they signify in the present, bridging this gap through the elaboration of the concept of 'the working class weird'. Over the past decade, the work of Mark Fisher has traced a fascinating, if speculative, formal and classed history to The Fall's 'pulp modernism'. Here, I respond to and build upon Fisher's work by situating The Fall more concretely within a postwar British history of working class experiments with avant-garde cultural form. I locate the band's output within the shifting class relations of the late 20th century and explore its conflicted ideological implications, arguing that although Smith and The Fall may appear to presage and articulate a particular variant of working class conservatism that has coalesced around Brexit, their work also retains elements of utopianism and intransigent oppositionality.

Bernard Bosanquet (1848–1923) was one of the leading figures of the idealist movement in the late nineteenth and early twentieth centuries, and in his obituary in the London Times, was described as having been 'the central figure of British philosophy for an entire generation.' Bosanquet's views fell out of favour in the decades after his death, but recently there has been a lively renewal of interest in European and British Idealism, the Idealist approach being recognized as providing valuable insights for contemporary debates in political philosophy, ethics, aesthetics, epistemology, and logic. Idealism also serves as a bridge between the dominant philosophical traditions of twentieth century Anglo-American and continental thought, and, indeed, Bosanquet was among the first British philosophers to address the work of Benedetto Croce, Giovanni Gentile, and Edmund Husserl and to introduce these thinkers to an English-language audience.In Bernard Bosanquet and the Legacy of British Idealism, William Sweet and other leading scholars examine Bosanquet's contribution to some of philosophy's central questions. They provide a solid introduction to British Idealism and the idealist movement as a whole, and bring the scholarship on Bosanquet fully up-to-date

Working-Class Heroics: The Intersection of Class and Space in British Post-War Writing explores the influence of the built environment on class consciousness as represented in the British kitchen sink realism movement of the late 1950s and early 1960s. As a movement that used gritty, documentary-style depictions of space to highlight complexities of working-class life, the period's texts chronicled shifts in the social and topographic landscape while advancing new articulations of citizenship in response to the failures of post-war reconstruction. I refer to such articulations as the "working-class imaginary"—a stance identifiable across kitchen sink texts in which spaces that prescribe social limitation are remapped as sites of plenitude and potency. This stance, I argue, mirrors incipient youth subculture, situating working-class identities as dynamic and contingent yet susceptible to commodification. In considering the impact of space on class, I address Nigel Thrift and Peter Williams' contention that academic discourse has overlooked the way the built environment informs class identity. Recent analysis in the social sciences has opened the door to such debates, but literary scholarship has yet to fully embrace this juncture, rendering it as a particularly rich site of inquiry. The result is a project that highlights the settings of a variety of novels, plays, and films, offering a fresh outlook on the way spatial representation in cultural production sustains or intervenes in the process of social stratification. In doing so, the project advances formal methods by which to assess representations of working-class culture in terms of ethical and aesthetic objectives. Given the wave of political unrest breaking across the Western world, Working-Class Heroics: The Intersection of Class and Space in British Post-War Writing offers a timely study of the influence of the environment on class identity, looking to cultural production as both a barometer and an engine of contemporary citizenship.

The theatricality of passing as heterosexual in the face of legislative, medicalized, and stigmatized homophobia serves as the primary lens through which I analyse three European, gay coming-out films from the 1990s. In all three films – the Swedish-Norwegian film Sebastian (När alla vet, 1995), and two British films Beautiful Thing (1996) and Get Real (1998) – the physical bodies of the white protagonists complicate normative binaries and stereotypical queer aesthetics ascribed to homosexuals in the late 20th century. Specifically, these three films serve as cultural artifacts about the time period, lending insight into how late 20th-century governmentsfrom the two regions treated the homosexual experience through the implementation of legislative, medicalized measures, specifically regarding HIV/AIDS.

Persuasion has been extensively examined in broadcast contexts such as political speeches/debates and advertisements. In contrast, it has only been tangentiallyconsidered in relation to the increasingly popular lifestyle media. This is despite both scholarly consensus that these programmes actively promote certain lifestyles as desirable over others and that general views of these programmes being nothing more than trivial, mindless entertainment belie their influence on viewer patterns of living and spending time and money.In view of this, I examine the resources and strategies that the lifestyle media deploy in order to persuade viewers to pursue specific lifestyles, drawing upon a corpus of 45 episodes of British primetime television property shows. Textual analysis of this corpus reveals the shows' promotion of ready-made lifestyle packages which interlock material, lifestyle and identity choices and use ease and aesthetics as incentives. The analysis also focuses upon the shows' persuasive combination of two participation frameworks: diluted didactics and melodrama. This article therefore contributes to the current debate on the purchase of lifestyles in contemporary, mass-mediated societies by critically examining a broadcast genre in which lifestyles are not only showcased but persuasively offered to viewers.

This article looks at On Reflection, a video installation by the London-based artist Ori Gersht, in light of the artist's transcultural or 'travelling' position between the United Kingdom, where Gersht has been residing and practising art since 1989, and his native country of Israel. Through close analysis of a single video installation by a British/Israeli 'radicant', to adopt Nicolas Bourriaud's suggestive nomenclature, the article asks how the global migratory condition is affecting contemporary art and aesthetic experience. Focusing on sensory and motor aspects of viewers' engagement with the installation, the article proposes an approach to the political through the prism of aisthêsis, or sensory engagement. It further suggests that On Reflection evinces a cautious effort to augment observers' sense of bodily presence, which, however, does not outlast the brief duration of the gallery visit. The multidisciplinary approach offered here combines close attention to aesthetics, in Jill Bennett's sense of 'what art does', with insights from phenomenological film theory and from cognitive neuroscience. It is argued that this is a productive critical gateway through which to investigate the migratory turn in global art.