Research on global Shakespeare has focused on the ways in which the plays have been adapted for indigenous languages and customs. Less attention has been paid to the ways in which non-British directors have treated the Elizabethan drama. Yet there are a number of works that create direct musical dialogues between Elizabethan drama, history, and…[Read more]

This article investigates Henry James’s digital afterlives by analyzing popular James-themed images and articles that have been shared on the Internet since 2000. Adapting Richard Dawkins’s theory of virality and Michael Anesko’s concept of James’s cultural capital, this article engages with viral content published on websites such as Bustle,…[Read more]

This essay draws parallels between the intellectual labor of the Jamesian narrator and that of social media user, both of whom use similar techniques to arrange and interpret data streams (consciousness, expression, dialogue, action, text). I argue that James’s social politics of conversation is not only suited to making digital interlocutors c…[Read more]

Rose Macaulay’s The World My Wilderness (1950) rewrites post-Second World War crises of displacement, child combat, and state re-integration through the genre of the domestic melodrama. Adolescent protagonists Barbary and Raoul move from France to London at the end of the war as both combatants and refugees, having spent the conflict aiding the R…[Read more]

This article approaches the problem of reconstructing the culturally situated audience experience of radio programming through the example of Louis MacNeice’s wartime radio broadcasts, notably “Alexander Nevsky” and “Christopher Columbus”. The article draws on audience research reports, internal correspondence, and close analysis of the broadcasts…[Read more]

This article provides an overview of the history of radio studies as it intersects with twentieth-century literary studies, and outlines recent research trends in the field. Beginning with the earliest theorists and practitioners of radio (including Hilda Matheson, Rudolf Arnheim, and Lance Sieveking), the article considers how mid-twentieth…[Read more]

Zoë Wicomb’s You Can’t Get Lost in Cape Town (1987) uses bodily and material waste to figure larger social processes of marginalization, dispossession, and racial abjection during the apartheid era. As the apartheid regime sought to devalue black and “coloured” lives, while simultaneously profiting from their land and labor, it pushed non-whit…[Read more]

This course is intended to give students a broad introduction to (primarily) British modernist fiction in the context of the new media ecology of the early twentieth century. Other media (radio, film), genres (drama), and national traditions (Irish, American, German, Soviet) make appearances.