“Gulliver has been a regular inspiration for film-makers since the earliest days of cinema. This chapter considers the various reasons for his popularity on screen and the challenges inherent in adapting Swift’s text. Among the latter are its lack of narrative unity and the discrepancies between what people think they know of the book and how it actually conducts itself. From silent French films to groundbreaking animations and Hollywood blockbusters, such concerns have always informed the kinds of Gulliver presented to the world. At the same time, each adapter of Gulliver’s Travels explicitly or implicitly considers its relevance for cinema as form and spectacle. Swift’s capacity to disorientate, both in the shifting physical proportions of his characters and in the questionable literary dignity of his text, helps to align him with the experience of cinematic audiences and innovators worldwide. When we assess not only the changing figure of Gulliver but also the different varieties of otherness encountered through his screen afterlives, we can better appreciate the adaptation process as one in which our ideas of history and literature are themselves subject to interrogation.”

In examining how practices of theatregoing were impacted by the war this chapter provides a partner to Claire Cochrane’s examination of theatre-making in Chapter 3. It considers changing audience demographics over the war and reveals how the ‘new’ audiences were often blamed for the deterioration of theatrical quality. It pays particular attention to the two groups of audiences that received the greatest attention during the war: women (especially single women and mothers) and servicemen. Whilst recognising the value of newspaper and magazine commentaries on audience, the chapter also draws on letters, memoirs, commentaries and diary entries to understand and draw out the first-person experience of theatre-going during the war. It highlights the impact of air raids, lighting restrictions, the Amusements Tax and other wartime conditions on audiences. It also shows how changing social realities and relations in the wider world impacted on the theatre, bringing new class and gender dynamics into the auditorium.

This chapter considers the close interrelationship between theatre and cinema during the First World War. As well as looking at key examples of plays which were adapted into films such as The Better ‘Ole (1917) it looks at the relationship between the two modes of popular entertainment, emphasising, for example, how film screenings often incorporated or were incorporated into live performance, and how the two industries shared business practices. The chapter examines the economics and practices of cinema exhibiting, drawing parallels to the regional theatre circuits. It argues for the role of government-endorsed films such as The Battle of the Somme (1916) in establishing the respectability of cinema and demonstrates how from 1917 cinema could shift to being more of a source of entertainment: a shift which threatened the theatre industry. It examines this competition through a focus on the growth of the ‘Super film’ and through attention to the dominance of American films on British screens. The chapter ends with a focus on post-war films. Through discussion the factual war films produced in the 1920s, as well as the fictional dramas, it highlights the ways in which post-war cinema became a means for mediating memory on the war.

“Gulliver’s Travels has long been connected to, and appropriated within, visual culture. The maps and portraits in early editions of the text are part of a complex paratextual apparatus which purports to establish its authenticity and veracity while simultaneously debunking that illusion. However, more recent use of imagery taken – often radically out of context – from the Travels bears witness to the work’s changing status, from literary satire to an element of popular visual culture. This chapter studies some of the various forms and representations involved in these processes, including illustrations, paintings, graphic novels, cartoons, and advertisements, and examines the ways in which images of and relating to Lemuel Gulliver and his travels, which were once unconvincing indicators of authorial reliability, have evolved. Over the centuries, Swift’s imaginary voyage has increasingly been epitomised and reworked, becoming part of a collective iconography familiar to a global audience that has often little to no direct knowledge of the original text.”

This chapter discusses connections between the Sophists and their wider intellectual context. It argues for the value of the term “enlightenment” as a characterization of the period in two respects: as pointing to a widespread self-consciousness of intellectual change, and as encompassing a range of discourses and thinkers beyond the philosophical. Using Aristophanes’ Clouds as a guide, the chapter discusses three modes of thinking that are characteristic of the sophistic period as an enlightenment, understood in these senses: an interest in empirical research and collection, particularly in the human social realm; a concentration on methods of argument and widespread employment of antilogistic forms; and a skepticism toward causal reasoning concerning divinity and the unseen generally. These three modes of thinking are found importantly among the Sophists, but are manifest widely beyond their thought, and are best understood as characteristic practices and attitudes of a fifth-century enlightenment.

This chapter concerns the pursuit of aretē among the sophists. It argues that such pursuit did not mean what it came to mean to Plato and his heirs. For the latter, the goal of human life, called eudaimonia, is personal flourishing; and aretē is used to refer to some highly valued psychological condition crucial to achieving eudaimonia. The sophists use aretē to refer to a psychological condition once. Predominantly, they use aretē to refer to a life of civic success, conceived as success in public affairs, saliently involving the agent’s making significant positive contributions to his fellow citizens and polis. As such, sophistic ethics tends to be civic ethics. Granted this, there is limited evidence of anti-civic ethics among the Sophists. Given traditional views of the Sophists, the locus of this evidence is ironic. It consists of attributions to the Socratic Aristippus and content in the Athenian Antiphon’s On Truth.

This chapter emphasises the key role that comic revues and music hall acts played in ensuring the British army had a continuous stream of recruits throughout the First World War. Through examining the songs, sketches and characters through which this was achieved, the chapter demonstrates the varied strategies used and the ways they drew on earlier modes of performance such as nineteenth-century melodrama. Particular emphasis is placed on the gendered ideology that was implicit in the performances examined, for example in looking at the dramatization of atrocity stories which were circulating in the press and the treatment of women in these plays and wider narratives. The chapter also focusses on music hall songs and performances by male impersonators such as Marie Lloyd. It encourages us to question the simple alignment of propaganda and popular entertainment and offers a more nuanced understanding of these performances through the lens of satire. By doing so, it demonstrates how satirising and parodying wartime experiences provided a release from anxiety. Stage satire and comedy, it concludes, offer a unique perspective on how modern total war saturated public life.