Arthur Conan Doyle And The Meaning Of Masculinity

A valued icon of British manhood, Sir Arthur Conan Doyle has been the subject of numerous biographies since his death in 1930. All his biographers have drawn heavily on his own autobiography, Memories & Adventures, a collection of stories and anecdotes themed on the subject of masculinity and its representation. Diana Barsham discusses Doyle's career in the context of that nineteenth-century biographical tradition which Dr Watson so successfully appropriated. It explores Doyle's determination to become a great name in the culture of his day and the strains on his identity arising from this project. A Scotsman with an alcoholic, Irish, fairy-painting father, Doyle offered himself and his writings as a model of British manhood during the greatest crisis of British history. Doyle was committed to finding solutions to some of the most difficult cultural problematics of late Victorian masculinity. As novelist, war correspondent, historian, legal campaigner, propagandist and religious leader, he used his fame as the creator of Sherlock Holmes to refigure the spirit of British Imperialism. This original and thought-provoking study offers a revision of the Doyle myth. It presents his career as a series of dialoguic contestations with writers like Thomas Hardy and Winston Churchill to define the masculine presence in British culture. In his spiritualist campaign, Doyle took on the figure of St Paul in an attempt to create a new religious culture for a Socialist age.

This is a study of masculinity in the works of Arthur Conan Doyle, particularly the Sherlock Holmes stories. The work is divided into three sections, focusing on aspects of masculinity in three eras - the Victorian Holmes, the Edwardian Holmes and the Georgian Holmes.

Examines both academic and popular assessments of Conan Doyle's work, giving pride of place to the Holmes stories and their adaptations, and also attending to the wide range of his published work. Twenty-first-century readers, television viewers, and moviegoers know Arthur Conan Doyle as the creator of Sherlock Holmes, the world's most recognizable fictional detective. Holmes's enduring popularity has kept Conan Doyle in the public eye. However, Holmes has taken on a life of his own, generating a steady stream of critical commentary, while Conan Doyle's other works are slighted or ignored. Yet the Holmes stories make up only a small portion of Conan Doyle's published work, which includes mainstream and historical fiction; history; drama; medical, spiritualist, and political tracts; and even essays on photography. When Doyle published - whatever the subject - his contemporaries took note. Yet, outside of the fiction featuring Sherlock Holmes, until recently relatively little has been done to analyze the reception Conan Doyle's work received during his lifetime and since his death. This book examines both academic and popular assessments of Conan Doyle's work, giving pride of place to the Holmes stories and their many adaptations for print, visual, and online media, but attending to his other contributions to turn-of-the-twentieth-century culture as well. The availability of periodicals and newspapers online makes it possible to develop an assessment of Conan Doyle's (and Sherlock Holmes's) reputation among a wider readership and viewership, thus allowing for development of a broader and more accurate portrait of Doyle's place in literary and cultural history.

Conan Doyle: Writing, Profession, and Practice approaches Conan Doyle's writing in terms of themes such as sport, science, crime, and empire, finding within it a complex and surprising interpretation of a late-Victorian and early twentieth-century world, emerging into a troubling modernity.

This groundbreaking book rescues Arthur Conan Doyle from the sub-literary category of popular fiction and from the myth of Sherlock Holmes. Instead of following new historicists and postcolonialists and asking what Conan Doyle’s fiction reveals about its author and what it tells us about Victorian attitudes to crime, class, Empire and gender, this provocative and convincingly argued literary study shifts the critical emphasis to the neglected art of the novels, tales and stories. It demonstrates through close reading that they can be read the same way as canonical literary fiction. Unapologetically polemical and written in an accessible, jargon-free style, this book will stimulate debate and provoke counterarguments, but most importantly it will send readers, both within and outside the academy, back to the fiction with heightened understanding and renewed pleasure. At a time when evaluation has virtually disappeared from literary studies, this iconoclastic book returns it to the centre.

"London Eyes provides paths through the city, chancing upon those stories that ultimately have the potential to change London, to see it with new eyes, casting new shadows and seeing new stories open up at many turns. This collection has at its heart a joyous fascination with the city and the texts, images and films that have contributed to our ideas about London. It was a wonderful opportunity to stumble upon some new panoramas." Film Philosophy London incessantly generates and incites cultural responses, pre-eminently in the interconnected domains of literature and film. This book demonstrates that those responses have been sustained as vital experiments and engagements in configuring the city and its inhabitants. Including essays by prominent cultural, literary and film historians this volume forms an original and incisive contribution to ongoing debates about the city's intricate cultural history and its construction through both language and image, as a crucial site of identity, desire, exile and displacement. Gail Cunningham is Professor of English and Dean of the Faculty of Arts and Social Sciences at Kingston University. Her recent publications include Houses in Between (CUP, 2004) Anna Lombard (Birmingham University Press, 2002) and He-Notes: Reconstructing Masculinity (Palgrave, 2000). Stephen Barber is a Professor of Media Arts at Kingston University. His most recent publications include The Vanishing Map (Berg, 2006), Hijikata (Creation, 2006) and The Art of Destruction (Creation 2004). He has been awarded international prizes and awards for his work by the Rockefeller Foundation, the Getty Program, the Ford Foundation, the DAAD Berlin Artists and Writers Programme, the Annenberg Foundation, the Leverhulme Trust, the Japan Foundation, the British Academy, the Daiwa Foundation, the Saison Foundation, and the London Arts Board.

Arthur Conan Doyle is often perceived as the quintessential Englishman, patriotically devoted to the Crown and the empire's defender and apologist. But such a relegation is both limiting and simplistic. Born in Scotland to Irish Catholic parents, Doyle's heritage is complex. His paternal grandfather, John Doyle, had originally left Ireland for London in the early 19th century; his father was committed to the cause of Irish separatism; and his uncle resigned from his position as main cartoonist for ^IPunch^R after the journal launched an attack on the Pope. Consequently, British imperialism, Irish nationalism, and Catholic allegiance converge uneasily in his works. This book examines the resulting tensions between imperialism and colonialism in his writings. It argues that his thematic obsessions with topography, race, psyche, and sexuality stem from his ambivalence toward his own heritage. The volume repositions Doyle and redresses current critical approaches that have seen him solely as the advocate of empire and have ignored his colonial background. It explores how his fictions occur within a colonial context, the complexity of which is evident in gothic tropes of shifting landscapes, disguised criminalities, spiritualism, and sexual anomalies and conflicts.

Resentment has a history. Paintings such as Géricault’s Le Radeau de La Méduse, nineteenth-century women’s manifestos and WWI war photographs provide but a few examples to retrace the changing physiognomy of this emotion from the second half of the eighteenth century up to our contemporary society. The essays in this collection attempt to shed light on the historical evolution of this affective experience adopting the French Revolution as a “gravitational force”, namely as a moment in which the desire to be other was politically legitimised by means of the ideal of a meritocratic society. From Adam Smith’s definition as social passion linked with justice, to Nietzsche’s interpretation of resentment as a pathological symptom, this emotion has also shaped a plethora of social movements forging their identity out of hatred mixed with fear and indignation. This volume seeks to provide new insights into the history of emotions by showing how resentment is a cultural experience that contributes to a better understanding of the differences between the past and the present world.