Wallace: A Lecture Tour in America (1886-7)

2021 ◽  
pp. 439-451
Author(s):  
William Baker
Keyword(s):  
2010 ◽  
Vol 42 (2) ◽  
pp. 231-249 ◽  
Author(s):  
Liat Kozma

In late 1931, German sexologist and gay-rights activist Magnus Hirschfeld, quoted above, visited Palestine for a lecture tour that attracted hundreds in Tel Aviv, Jerusalem, Haifa, and kibbutz Beit Alfa. By this time, the Jewish settlers' community (or Yishuv) in Mandate Palestine had already been exposed to the science of sexology and to the reform movement it inspired. Sexual-hygiene manuals had been translated into Hebrew and Yiddish in both Tel Aviv and Warsaw. Hebrew readers had access, for example, to translations of Auguste Forel's Sexual Ethics and Max Hodann's A Boy and a Girl. Finally, in the fall and winter of 1931–32, three sex consultation centers were opened in Tel Aviv.


Author(s):  
Robert Volpicelli

Transatlantic Modernism and the US Lecture Tour examines how the US lecture tour served as a vital infrastructure for bringing regional audiences from all across America into direct contact with international modernists. In doing so, the book reroutes scholarly understandings of modernism away from the magazines and other mass media that have so far characterized its circulation and toward the unique form of cultural distribution that coalesced around public lecturing. More specifically, it highlights the role the lecture circuit played in the formation of transatlantic modernism by following a diverse group of international authors—Oscar Wilde, W. B. Yeats, Rabindranath Tagore, Gertrude Stein, and W. H. Auden—on their wide-ranging tours through the American landscape. By analyzing these tours, this study illuminates how this extremely physical form of literary circulation transformed authors into commodities to be sold in a variety of performance venues. Moreover, it shows how these writers responded to such broad distribution by stretching their own ideas about modernist authorship. In this way, Transatlantic Modernism and the US Lecture Tour adds to a critical tradition of revealing the popular dimensions of modernism by demonstrating how the tour’s social diversity forced modernists to take on new, more flexible forms of self-presentation that would allow them to appeal to many different types of audiences.


Author(s):  
Robert Volpicelli

The Introduction to this book provides a framework for analyzing both the “lecture” and the “tour.” The first half presents the lecture as a pervasive yet unexamined authorial practice. It draws on current theories of literary celebrity to demonstrate how lecturing is primarily concerned with the construction of an author’s “personality.” However, it also shows how an analysis of lecturing demands a close attention to live, embodied performance generally lacking among the scholarship in this area. The second half of the Introduction then looks at the social and historical contexts surrounding the US lecture tour. Focusing on the late nineteenth and early twentieth centuries, it highlights two institutions—the lyceum and the Chautauqua—that were crucial in connecting the practice of lecturing to a larger traveling-show culture that hovered between public education and popular entertainment. Detailing this context underscores how the US lecture tour injected modernist authors into an environment of great social variety where they had to learn how to vary the presentation and performance of their own authorship.


Author(s):  
Robert Volpicelli

The coda to this book uses modernist authors’ diverse engagements with academic institutions on the US lecture tour as an opportunity to reconsider long-standing scholarly narratives about modernist institutionalization. In particular, it argues that the academic institution is not the closed, autonomous space that critics frequently make it out to be and that modernism’s relocation into the university during the postwar period should not be seen as a retreat from the social world. After highlighting several scenes from this book that reflect an alternative perspective on modernism’s relationship with the university, the coda makes a final call for us to model our contemporary institutions on the US lecture tour’s diverse social engagements as a way of furthering recent efforts in the public humanities.


2021 ◽  
Author(s):  
Robert M. Peck ◽  
Stephen M. Rowland

ABSTRACT Benjamin Waterhouse Hawkins (1807–1894) was a British scientific illustrator and sculptor who illustrated many British exploration reports in the 1830s and 1840s. In the early 1850s, Hawkins was commissioned to create life-size, concrete sculptures of Iguanodon, ichthyosaurs, and other extinct animals for a permanent exhibition in south London. They were the first large sculptures of extinct vertebrates ever made, and they are still on view today. Inspired by his success in England, Hawkins launched a lecture tour and working trip to North America in 1868. Soon after his arrival, he was commissioned to “undertake the resuscitation of a group of animals of the former periods of the American continent” for public display in New York City. Had it been built, this would have been the first paleontological museum in the world. As part of this ambitious project, with the assistance of the American paleontologist Joseph Leidy, Hawkins cast the bones of a recently discovered Hadrosaurus specimen and used them to construct the first articulated dinosaur skeleton ever put on display in a museum. It was unveiled at the Academy of Natural Sciences of Philadelphia in November 1868. Hawkins worked tirelessly on New York’s proposed “Paleozoic Museum” for two years, until his funding was cut by William “Boss” Tweed, the corrupt leader of the Tammany Hall political machine, who grew hostile to the project and abolished the Central Park Commission that had made it possible. When Hawkins defiantly continued to work, without funding, Tweed dispatched a gang of thugs to break into his studio and smash all of the sculptures and molds. Although Hawkins would create several copies of his articulated Hadrosaurus skeleton for other institutions, the prospect of building a grand museum of paleontology in America was forever destroyed by Tweed’s actions.


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