The “creative industries” and the dispositions of creative workers have acquired a new salience and significance within both sociological and business orientated commentaries in recent years. This has included an attention to the apparently hybrid character of “creative work” and the way this informs the ideal of the self‐expressive creative worker. Our paper takes these claims as its starting point and seeks to render more concrete discussions of these areas of work which have often been treated in an overly synthetic way. Drawing on our earlier research, we explore how two sets of creative workers in advertising and magazine publishing handled the ideal of the creative worker and the fun and funky image of these areas of work. Foregrounding questions of gender and, specifically, masculinity, we detail the subjective investment of these practitioners within particular forms of masculinity and consider the way, through this, gender was written into the creative cultures of advertising and magazine publish...

Pleasure at Work? Gender, Consumption and Work‐based Identities in the Creative Industries

of Thesis This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical

Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)

In the 1960s and 1970s the emergent domain of social history was marked by a reconceptualisation of the concept of power. The dimensions of power and its operations were no longer understood to be confined to elite institutions such as parliament, but extended to the relations and institutions of everyday life. In the process, social historical writing helped to redefine the notion of the political itself. Since this early phase a number of different conceptions of power have been utilised by social historians, including the Gramscian notion of hegemony and, more recently, the Foucauldian idea of governmentality. This article explores the theoretical implications of these concepts and looks at how ideas associated with governmentality in particular have been operationalised in recent historical writing, including the work of Mary Poovey and Patrick Joyce. In conclusion, the article identifies some of the problems arising from governmentality approaches and sketches briefly an alternative way of thinking about power centred on analysis of the body.

From Hegemony to Governmentality: Changing Conceptions of Power in Social History

Introduction 1. The romance of property: Rolf Boldrewood and Walter Scott 2. Outlaws and lawmakers: Boldrewood, Praed and the ethics of adventure 3. Israel in Egypt: the significance of Australian captivity narratives 4. Imperial romance: King Solomon's Mines and Australian romance 5. The new woman and the coming man: gender and genre in the 'lost-race' romance 6. The other world: Rosa Praed's occult novels 7. The boundaries of civility: Australia, Asia and the Pacific 8. Imagined invasions: The Lone Hand and narratives of Asiatic invasion 9. The colonial city: crime fiction and empire 10. Beyond adventure: Louis Becke Conclusion.

Writing the Colonial Adventure: Race, Gender and Nation in Anglo-Australian Popular Fiction, 1875-1914

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Crusoe's chains : being a man in Britain and Australia, c.1788-1840

Performers tend to imprint a strongly responsive and sympathetic outline upon the culture of their age. Through their distinctive resources of body. voice, gesture, personality, sex appeal, and manipulation of social personae they both mobilise and embody those identities, desires, and values held by their contemporaries. Spectral traces of their once vibrant and distinctive individual presence are detectable in newspaper accounts of live performances and discernible across a repertoire of varied roles. This actorly presence, while situational and diffused, may be articulated as a fairly constant gestaltconstellation of preferred attributes, vocal and physical presence, affects, and pleasures that are produced in dialogue with the values, emotions, and complex identifications of popular audiences. These affects and meanings will be explored

Alfred Dampier as Performer of Late Colonial Australian Masculinities

Richard Fotheringham, ed., Australian Plays for the Colonial Stage 1834-1899 (St Lucia: University of Queensland Press, 2006) With 734 pages of edited and annotated playtexts, an authoritative 'General Introduction', plus illustrations, chronology, abbreviations and Angela Turner's lengthy Appendix of words and music used in the plays, this latest publication of the Academy Editions of Australian Literature is a truly significant monument in cultural scholarship. It also signals a moment of maturity in the textual editing of early Australian plays. This activity can be found mostly in the discontinued 'National Theatre' series of editions, commenced by Currency Press in the late 1970s, and here heroically taken up by the University of Queensland Press. Diverse scholars including Philip Parsons, Elizabeth Perkins, Eric Irvin, Fotheringham himself and the present writer brought their particular skills and scholarly backgrounds to the task of devising the full-dress annotated edition, from varying angles of attack and degrees of proficiency. This chequered activity taught Fotheringham the necessity of textual editing informed by rigorous and consistent method, thoroughness of research, and by close acquaintance with contemporary debates on editorial theory. While lacking nothing in scholarly precision, the aim of this volume is to be both representative and comprehensible, usable and adaptable; respecting the specific problems of each source, tampering as little as possible with historically bound orthography, manuscript format and stage directions, while producing texts which are usable for current dramatic, historical and cultural comprehension. The volume's hefty size, weight and price might impede wide circulation, but there is ample opportunity for the collection to be broken down, whether in print or digital form, into its discrete playtexts with their particular introductions, while the authoritative 66-page 'General Introduction', which interprets the significance of theatre in Australia over this period, could well travel alone. Readers unfamiliar with the conventions of nineteenth-century dramatic genres and performance practices, or unused to deciphering manuscript plays, will find the editor at hand to anticipate their every question with lucid and fully documented explanations. As with all good scholarly writing, the reader's expertise and comprehension are built up by logical steps such that they are able to follow arguments on the relative merits of technical or interpretational complexities. The array of scholarly apparatus comprises notes on the provenance of the sources, textual variants, authorial biography, detailed textual glosses, historical and theatrical contexts. Do we really need so much labour to re-present popular plays, the epiphenomena of evanescent commercial enterprise? I think we do. Colonial theatre texts, and colonial cultural production generally, require the historical estrangement produced by the assumption that nothing about them is going to be familiar. Colonial popular performance is not a primitive, 'lite', or unevolved precursor to more achieved and sophisticated contemporary practices and knowledges. It is itself a vital public expressive form historically situated in a productively intricate, nuanccd, complex and dynamic web of social relations and understandings, literary and cultural citations and adaptations, micro- and macro-political enunciations and desires. Thus the lazy contempt or cultural-evolutionist assumptions that dogged much twentiethcentury thinking about this vibrant period of popular theatre can be challenged by confrontation with the essential alterity of a cultural milieu that is basically alien under its mask of superficial national familiarity. Fothcringham's edition requires us to follow the arguments, encounter the unfamiliar, catch up with our cultural homework. Only thus can the excitement of readerly intellectual discovery take place: particularly the important discoveries of broad patterns and points of contact which connect theatre with other cultural and historical enunciations of early Australia, and with the ideas, jokes, knowledges and practices of contemporary Australian culture. …

Australian plays for the Colonial Stage 1834-1899

Michael Gow's celebrated play Away (1986) commences with a tatty school version of Shakespeare's A Midsummer Night's Dream. Set in the era of anti-Vietnam War protests, Away ironically salutes the iconic performance traditions of the ‘romantic’ Dream. At the Prince's Theatre, Manchester, in 1901–02, actor-manager Robert Courtneidge directed elaborate productions of this play and As You Like It, and under the management of George Musgrove toured them to Australia, where Twelfth Night was added. These productions' ensemble casting was central to Courtneidge's and Musgrove's ambitions for addressing the ‘distinctive geographies’ of regional taste. Veronica Kelly is an Honorary Research Advisor at the University of Queensland. Her book The Empire Actors: Stars of Australasian Costume Drama 1890s–1920s is published by Currency House (2010).  © Cambridge University Press

North Star and Southern Cross: Shakespeare's Comedies in Australia, 1903–1904

Australian and international modernity from the late nineteenth to the mid-twentieth century inspires research in many fields of cultural endeavour: architecture, fine arts, design, cinema, theatre, and music; in urban studies, literary history and Aboriginal studies. Impact of the Modern brings together examples of this new interdisciplinary work on modern Australian culture by 21 leading scholars. Their writings reveal an original account of 'modernising' Australia as dynamic and creative in many art forms, and interactively linked with international processes and ideas.

Australian vernacular modernities: People, sites and practices

This argument addresses some Australian contemporary, and one colonial, plays dealing with patterns of political impotence and defeat; where utopian, revolutionary or just liberal-progressive forces are defeated, dispersed or otherwise contained. Charles Harpur's Stalwart the Bushranger, written in various drafts from 1835 to 1867, will be examined as a paradigmatic text, since its tragic form and melodramatic ideological ambience seem congruent with recent plays by Michael Gow and Stephen Sewell which deal with the self in society and the processes or possibilities of social change. All are linked by their obsession with, or various elisions of, the historical discourse of convictism — that thematic which Graeme Turner in National Fictions sees as providing “a central paradigm for the depiction of the self in Australian narrative”. The production at the 1988 Adelaide Festival of Gow's 1841, with its attendent controversy, showed that the mythologies of the convict system are still problematic and potent, since both its subject and genre received significantly equal disapproval. Of the former, a critic wrote “a flop... full up of breast-beating caucasian guilt”, while its formal strategies earned the judgement “I've seen better plots in the cemetery”.

Veronica Kelly

Papers

Alfred Dampier as Performer of Late Colonial Australian Masculinities

Australian plays for the Colonial Stage 1834-1899

North Star and Southern Cross: Shakespeare's Comedies in Australia, 1903–1904

Australian vernacular modernities: People, sites and practices

The melodrama of defeat: Political patterns in some colonial and contemporary Australian plays