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“The Sixth Sense: Synaesthesia and British Aestheticism 1860-1900” is an interdisciplinary examination of the emergence of synaesthesia conceptually and rhetorically within the ‘art for art’s sake’ movement in mid-to-late Victorian Britain. Chapter One investigates Swinburne’s focal role as both theorist and literary spokesman for the nascent British Aesthetic movement. I argue that Swinburne was the first to practice what Pater meant by ‘aesthetic criticism’ and that synaesthesia played a decisive role in ‘Aestheticising’ critical discourse. Chapter Two examines Whistler’s varied motivations for using synaesthetic metaphor, the way that synaesthesia informed his identity as an aesthete, and the way that critical reactions to his work played a formative role in linking synaesthesia with Aestheticism in the popular imagination of Victorian England. Chapter Three explores Pater’s methods and style as an ‘aesthetic critic.’ Even more than Swinburne, Pater blurred the distinction between criticism and creation. I use ‘synaesthesia’ to contextualise Pater’s theory of “Anders-streben” and to further contribute to our understanding of his infamous musical paradigm as a linguistic ideal, which governed his own approach to critical language. Chapter Four considers Wilde’s decadent redevelopment of synaesthetic metaphor. I use ‘synaesthesia’ to locate Wilde’s style and theory of style within the context of decadence; or, to put it another way, to locate decadence within the context of Wilde. Each chapter examines the highly nuanced claim that art should exist for its own sake and the ways in which artists in the mid-to-late Victorian period attempted to realise this desire on theoretical and rhetorical levels.

This is a biography of Robert Jones, 1857-1933. He was a surgeon, and is credited with bringing orthopaedics from its quack past into its scientific present. This work explores Jones’ life and times, and examines whether he is entitled to the epithet ‘father of orthopaedics’. It looks at the history of bonesetting, the influences on Jones’ development and medical training, and some key moments in his career – notably his involvement in the building of the Manchester Ship Canal, the planning of Heswall Children’s Hospital, and the Great War. It argues that although there are other medical men who could have been credited with fathering orthopaedics, he is indeed the father – at least of orthopaedics in Britain, if not internationally. This version of Jones’ life begins with something of his biographer’s journey, before it explores what and who influenced Jones, and in turn what his legacy has been to the medical profession. The accompanying Critical Commentary explores whether or not it is possible to offer a definition of biography as a genre in the light of its history and purpose. It examines critical views, considers the mythology that grows up around historical figures, and also explains the rationale for the structure chosen for organising the material presented in this new biography of Robert Jones, Live and Limbs: Re-membering Robert Jones.

This thesis examines clienteles during the reign of Edward VI, particularly those of the dukes of Somerset and Northumberland, and the role of the county elite in political society in order to reassess politics from the perspective of clientage. Edward's reign has not been extensively studied from this perspective but work by Dr Adams, Professor Guy and others on other periods provided the necessary context to reassess Edwardian politics. The aim was to investigate whether the regime continued to rely on the same core within the county elite employed in the 1520s and 1530s and again in Elizabeth's reign. This has involved extensive archival research since 1996 (in St Andrews, London and the Midlands). I have found that the privy council tried to foster a closer working relationship with the county elite in order to maintain stability and prevent faction during this period of minority government. The regime depended on the same core of gentlemen in the shires to act as commissioners of the peace and to fill the other vital local offices. Even within this group there was an inner-ring. This relationship was a two-way process and the clientage that underpinned early modem society was central to it. This study has also explored the extent to which Somerset's and Northumberland's clienteles were involved in central and local government to reassess how much the dukes operated as courtcentred or county-centred politicians. Both men dominated government in turn and their clienteles were vitally important. These were made up of their servants, family, friends and clients and were mutual self-support groups that reinforced their political and social status. Although principally intended as a political study, this research has come to incorporate military and local history. It has looked at how clienteles operated during periods of stability and crisis (the activities of Lord Seymour of Sudeley, the 1549 rebellions, the October coup, the second fall of Somerset and the succession crisis in 1553) in order to demonstrate how they really functioned.

In this study, I expand the scope of the scholarship that Walter Ong and others have done in orality-literacy relations to examine the often uneasy juxtaposition of the oral and written traditions in the literature of the Victorian pulpit. I begin by examining the intersections of the oral and written traditions found in both the theory and the practice of Victorian preaching. I discuss the prominent place of the sermon within both the print and oral cultures of Victorian Britain; argue that the sermon's status as both oration and essay places it in the genre of "oral literature"; and analyze the debate over the extent to which writing should be employed in the preparation and delivery of sermons.

Some of the older actors of the Restoration provided a link between the pre- and post-Commonwealth stages by preserving their craft during the years from 1642 to 1660, despite the harsh and numerous restrictions enacted by the Parliament. Some of the younger players, on the other hand, quickly mastered their art and continued the tradition preserved for them by men such as Charles Hart and Michael Mohun. The greatest actors and actresses of the period certainly influenced the direction of Restoration drama in several ways. Thomas Betterton and Elizabeth Barry were so skilled that on several occasions leading dramatists asked their advice about dialogue, character development, and stage business. Other actors, such as Samuel Sandford and Colley Cibber, developed into great character actors, and the dramatists created roles especially suited to their talents. William Congreve 's admiration for Anne Bracegirdle's talent and beauty perhaps contributed substantially to the creation of the character of Millimant in The Way of the World. Actors such as William Penkethman and Joseph Haines often insured a play's success by their antics on the stage. In addition to the major figures of the period, a substantial number of competent minor actors and actresses mastered the character roles which appear with frequency in much Restoration drama. The Restoration players exerted an influence on both the direction and content of the drama of the period. A better understanding of their performances and personalities could well lead to a better understanding of the drama itself. I have followed the alphabetical listing of the actors and actresses given in Part I of The London Stage, making a few additions where I found them necessary. For the most part, each entry contains information on the player's first and last recorded performances and on his best roles. Whenever possible I have included commentary about his ability. In addition, I have tried to provide data about the character and personality of each player when possible. In some instances I felt that the physical appearance was important and included that information. Much of the information in each entry comes from Restoration and eighteenth century sources. John Downes's Roscius Anglicanus and Thomas Davies' Dramatic Miscellanies were especially valuable, as was John Genest's Some Account of the English Stage. In the twentieth century, the works of John Harold Wilson and Sybil Rosenfeld were very helpful. Finally, the massive scholarship of The London Stage pervades this dissertation. Without that work my task would have been impossible.

In 1982, Richard C. Frushell urged the necessity for a critical study of Susanna Centlivre's plays. Since then, only a handful of books and articles briefly discuss herand many attempt wrongly to force her into various critical models. Drawing on performativity models, my reading of several Centlivre plays (Love's Contrivance, The Gamester, The Basset-Table and A Bold Stroke for a Wife) asks the question, "What was it like to see these plays in performance?" Occupying somewhat uneasy ground between literature and theatre studies, I borrow useful tools from both, to create what might be styled a New Historicist Dramaturgy. I urge a re-examination of the period 1708-28. The standard reading of theatre of the period is that it was static. This "dry spell" of English theatre, most critics agree, was filled with stock characters and predictable plot lines. But it is during this so-called "dry spell" that Centlivre refines her stagecraft, and convinces cautious managers to bank on her work, providing evidence that playwrights of the period were subtly experimenting. The previous trend in scholarship of this cautious and paranoid era of theatre history has been to shy away from examining the plays in any depth, and fall back on pigeonholing them. But why were the playwrights turning out the work that they did? What is truly representative of the period? Continued examination may stop us from calling the period a "dry spell." For that purpose, examining some of Centlivre's early work encourages us to avoid the tendency to study only a few playwrights of the period, and to avoid the trap of focusing on biography rather than text. I propose a different kind of aesthetic, stemming from my interest in the text as precursor to performance. Some of these works may not seem fertile ground for theorists, but discarding them on that basis fails to take into account their original purpose: to entertain.

The thesis presents a first account of the development of British public relations in the twentieth century. The focus is on the whether British public relations has managed to 'professionalise'. To a large degree, the story is one of failure, despite the exponential growth of the field. The history of this puzzling contradiction is explored in detail, drawing on previously untapped archives and extensive oral history interviews. The thesis argues that this apparent paradox is explained by the inability of the would-be professional body to establish control over public relations practice. Thus, one of the key features of the thesis is its presentation of a counter-history of the Institute of Public Relations to that body's own selfunderstanding. Turning to the overall development and growth of the occupation, the thesis argues that one of the most significant features of British developments, especially in the first half of the twentieth century, was the large role played by local and central governments and the relatively small contribution of the private sector. Key aspects of British government propaganda in both wartime and peacetime are highlighted and also include activities focused on policies of de-colonisation and economic intervention. The contribution of the British Film Documentary Movement and the collaboration between its leader, John Grierson, and the Secretary of the Empire Marketing Board (EMB), Sir Stephen Tallents, is presented as being of considerable significance, particularly in terms of the development of public relations ideology. The discourse and actions of key figures within the public relations industry are also foregrounded in the overall analysis. Themes include relationships between the public relations industry, the media and politics, ethics, and the ultimately vain attempts of the industry to establish the widespread legitimacy necessary for professional status.