Replete with sixty full-page engravings, this 'guided tour' of London's 1862 International Exhibition showcases Victorian achievements in arts and technology.

National identity is not some naturally given or metaphysically sanctioned racial or territorial essence that only needs to be conceptualised or spelt out in discursive texts; it emerges from, takes shape in, and is constantly defined and redefined in individual and collective performances. It is in performances'ranging from the scenarios of everyday interactions to `cultural performances? such as pageants, festivals, political manifestations or sports, to the artistic performances of music, dance, theatre, literature, the visual and culinary arts and more recent media'that cultural identity and a sense of nationhood are fashioned. National identity is not an essence one is born with but something acquired in and through performances.Particularly important here are intercultural performances and transactions, and that not only in a colonial and postcolonial dimension, where such performative aspects have already been considered, but also in inner-European transactions. `Englishness? or `Britishness? and Italianita, the subject of this anthology, are staged both within each culture and, more importantly, in joint performances of difference across cultural borders. Performing difference highlights differences that `make a difference?; it `draws a line? between self and other'boundary lines that are, however, constantly being redrawn and renegotiated, and remain instable and shifting.ContentsManfred PFISTER: Introduction: Performing National Identity1. Early Modern Literary ExchangesWerner VON KOPPENFELS: `Stripping up his sleeves like some juggler?: Giordano Brunoin England, or, The Philosopher as Stylistic Mountebank Ralf HERTEL: `Mine Italian brain ?gan in your duller Britain operate most vilely?: Cymbeline and the Deconstruction of Anglo-Italian Differences 2. Italian and English Art in DialogueJohn PEACOCK: Inigo Jones and the Reform of Italian Art Alison YARRINGTON: `Made in Italy?: Sculpture and the Staging of National Identities at the International Exhibition of 1862 3. Travelling ImagesBarbara SCHAFF: Italianised Byron ? Byronised Italy Fabienne MOINE: Elizabeth Barrett Browning's Italian Poetry: Constructing National Identity and Shaping the Poetic Self Stephen GUNDLE: The `Bella Italiana? and the `English Rose?: Reflections on Two National Typologies of Feminine Beauty 4. Political NegotiationsPamela NEVILLE-SINGTON: Sex, Lies, and Celluloid: That Hamilton Woman and British Attitudes towards the Italians from the Risorgimento to the Second World War Peter VASSALLO: Italian Culture versus British Pragmatics: The Maltese Scenario David FORGACS: Gramsci's Notion of the `Popular? in Italy and Britain: A Tale of Two Cultures 179Carla DENTE: Personal Memory / Cultural Memory: Identity and Difference in Scottish-Italian Migrant Theatre5. Contemporary MediationsClaudio VISENTIN: The Theatre of the World: British-Italian Identities on the Tourism Stage Judith MUNAT: Bias and Stereotypes in the Media: The Performance of British and Italian National Identities Sara SONCINI: Re-locating Shakespeare: Cultural Negotiations in Italian Dubbed Versions of Romeo and JulietMariangela TEMPERA: Something to Declare: Italian Avengers and British Culture in La ragazza con la pistola and Appuntamento a Liverpool Anthony KING: English Fans and Italian Football: Towards a Transnational Relationship Greg WALKER: Selling England (and Italy) by the Pound: Performing National Identity in the First Phase of Progressive Rock: Jethro Tull, King Crimson, and PFM Gisela ECKER: Zuppa Inglese and Eating up Italy: Intercultural Feasts and Fantasies Notes on Contributors

This is the first monograph exploring how, throughout its history, sculpture has provided a model to conceptualize photography as an art of mechanical reproduction. While there is a growing body of work examining how photography has contributed to the development of a Western 'sculptural imagination' by disseminating works, facilitating the investigation of the medium, or changing sculptural aesthetics, this study focuses on how sculpture has provided not only beautiful and convenient subject matter for photographs, or commercial and cultural opportunities for photographers in the market for art reproductions, but also an exemplar for thinking about photography as a medium based on mechanical means of production. In both media, processes from conception to realization involve apparatus that bypass the 'touch of the artist' - so important to enduring notions of the value of works of art. The book closely analyses a number of case studies, from 1847 to the present, selected both to explicate the conceptual and technological continuities between the two media, and also because of how they illuminate the materiality of photographic objects. The final chapter considers the convergence of the two media in contemporary sculptural practices that use forms of 3D photography and computer-operated sculpting machines. Rooted in an understanding of the practical, social and aesthetic implications of photographic as well as sculptural technologies, this volume demonstrates how photographs of sculpture are particularly useful in revealing how photography's changing materialities shape the meaning of images as they are made, circulated, looked at, written about and handled at different historical moments.

Now a byword for beauty, Verdi’s operas were far from universally acclaimed when they reached London in the second half of the nineteenth century. Why did some critics react so harshly? Who were they and what biases and prejudices animated them? When did their antagonistic attitude change? And why did opera managers continue to produce Verdi’s operas, in spite of their alleged worthlessness? Massimo Zicari’s Verdi in Victorian London reconstructs the reception of Verdi’s operas in London from 1844, when a first critical account was published in the pages of The Athenaeum, to 1901, when Verdi’s death received extensive tribute in The Musical Times. In the 1840s, certain London journalists were positively hostile towards the most talked-about representative of Italian opera, only to change their tune in the years to come. The supercilious critic of The Athenaeum, Henry Fothergill Chorley, declared that Verdi’s melodies were worn, hackneyed and meaningless, his harmonies and progressions crude, his orchestration noisy. The scribes of The Times, The Musical World, The Illustrated London News, and The Musical Times all contributed to the critical hubbub. Yet by the 1850s, Victorian critics, however grudging, could neither deny nor ignore the popularity of Verdi’s operas. Over the final three decades of the nineteenth century, moreover, London’s musical milieu underwent changes of great magnitude, shifting the manner in which Verdi was conceptualized and making room for the powerful influence of Wagner. Nostalgic commentators began to lament the sad state of the Land of Song, referring to the now departed "palmy days of Italian opera." Zicari charts this entire cultural constellation. Verdi in Victorian London is required reading for both academics and opera aficionados. Music specialists will value a historical reconstruction that stems from a large body of first-hand source material, while Verdi lovers and Italian opera addicts will enjoy vivid analysis free from technical jargon. For students, scholars and plain readers alike, this book is an illuminating addition to the study of music reception.

The opening of the ports of Japan in 1859 brought a flood of Japanese craft products to the world marketplace. For ivory it was a golden age. This book examines the role that ivory and ivory carvers played in the expression of nationalism and the development of sculpture in the later nineteenth and early twentieth century.