The fourth seminar of the year takes place on Saturday, 1pm (GMT), 23 January 2021.
This meeting will be delivered on Zoom. All meetings will start promptly at 1pm GMT (with arrivals from 12.30 onward to allow for necessary preparations and administration). We aim to finish by 3.30pm. If you would like to attend, please make sure your membership is up-to-date to receive the Zoom link.
January 23, 2021
Megan Shaw: Looking towards a cultural history of Katherine Villiers, Duchess of Buckingham (1603-1649).
This paper will explore how Katherine Villiers (neé Manners, 1603 – 1649), Duchess of Buckingham harnessed portraiture – in miniature and in large – and epistolary exchange as devices for affection, commemoration and self-preservation at the Stuart court. Katherine was the wife of George Villiers, 1st Duke of Buckingham (1592 – 1628), the royal favourite to both James VI & I and Charles I of England. This paper is contextualised through painted portraits and by analysing the highly emotive, and often distressing, letters which the duchess wrote to her “dear heart” throughout their marriage. The Duke of Buckingham was assassinated in September 1628 which prompted a visual display of grief and a reassertion of loyalty in Katherine’s mourning portraits painted by Anthony van Dyck and Henri Beaubrun. These poignant portraits featured her husbands’ likeness in miniature. Connections will be drawn between the functions of the portrait miniature as devotional objects which could be privately concealed, displayed or activated in public at the will of their owner or wearer. I argue that their presence in the duchess’ mourning portraits conveyed a public message of her loss, and furthermore reinforced the political leverage of remembrance and the renegotiations – and even performance – of power that commemoration offered.
Gillian Beattie-Smith: Catherine Helen Spence: a consideration of her feminist and transnational agency.
Catherine Helen Spence (1825-1910), born in Melrose, Scotland, emigrated to Australia as a girl with her family. Spence was a novelist, journalist, a leader in the international suffragist movement, a Georgist, and a proponent of proportional representation. She was a public intellectual, who addressed audiences across Australia, America and Britain, and was a widely-respected social reformer. Her life is commemorated in a statue, Australian currency, and place names, and memorialised in her extensive body of writing.
Spence’s novels have been compared with those of Eliot and Gaskell, and positioned in the development of European realist fiction, and the international tradition of feminist writing. The body of literary critique and biographical record has grown on Spence in recent years, enabling alternative discourses of settler women writers as cultural agents in Australian foundational history.
This paper reflects on Spence’s feminist and transnational agency in her life and work.
Kate Stephenson: Lawyers, Débardeuses and Pages; Women Masquerading as Men.
Masquerades became popular in Britain in the early-18th century, finding a home at theatres as well as pleasure gardens such as Ranelagh and Vauxhall. These provided the opportunity for attendees to dress up in a huge variety of creative costumes and this tradition continued into the 19th century with fancy dress balls. Contemporary reports suggest that a not insignificant number of women used these events to subvert established gender norms and dress as men. This led to contemporary anxieties regarding the transgression of moral and social boundaries and the suggestion that cross-dressing, as well as fancy dress events more generally, could lead to homosexuality, sexual liaisons (and consequently pregnancy and venereal disease) and the breakdown of established social structures. This work-in-progress paper will examine women’s costume choices at masquerades and masked balls in the long 18th century with a focus on cross-dressing, investigating what kinds of women cross-dressed, what costumes they chose and how their choices changed over time.