By Steve Attridge
This e-book offers an account of the refashioning of rules approximately nationwide personality in past due Victorian tradition, with a large connection with literature and pop culture round the time of the Boer warfare, and a selected scrutiny of pictures of the soldier. In particular photographs, narratives and motifs, the booklet highlights dynamic tensions, among the exterior barriers of empire and people of civil society, and among category antagonisms and nationwide projections. Many new resources and fabrics are brought to this box of analysis.
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Additional info for Nationalism, Imperialism and Identity in Late Victorian Culture: Civil and Military Worlds
Sample text
For the duration of the song or act the audience is invited to share the pose, or attitude, held in the performance. That songs and acts articulate different political or cultural perspectives does not necessarily imply a contradiction but a continuum of engagement, a collective suspension of disbelief. Audience involvement is an arresting of personal consciousness by the song, which gives shape to an attitude or mood. Logical consistency is not required, because the ritualizing of engagement is primarily a theatrical process, a collusion between audience and performer.
Tommy Atkins was one of the most popular and widely reviewed plays, gaining an enthusiastic audience in the East End, where the theme music ensured rapturous applause. It began its run in 1895 and received more column inches of reviews in the Era than most other plays, playing at various theatres, including the Adelphi and the Duke of York. Called by the Era the ‘Military Drama of the Day’ it had a long and various run, up to and including the Boer War years, parts of the play being presented as music-hall pieces.
Titterton’s book provides a descriptive opportunity for examining the power of her act. The fascination of Vesta Tilley is primarily with a sexual ambiguity which teases and allures, and is expressed through gesture and song. Her face is ‘cherubic round and young’ and she charms with her ‘freshness, her lightness, her spontaneity, her unspoiled rollicking boyishness’,75 yet this suggestion of innocence barely masks a sexuality which is attractive in its confusion; ‘but for a subtle hint of womanly waist and curving hips you might fancy it indeed a round-faced boy.