Parapsychology on the couch: The psychology of occult belief in Germany, c. 1870-1939

This article considers the attempts of academic psychologists and critical occultists in Germany during the late nineteenth and early twentieth centuries to construct a psychology of occult belief. While they claimed that the purpose of this new subdiscipline was to help evaluate the work of occult researchers, the emergence of a psychology of occult belief in Germany served primarily to pathologize parapsychology and its practitioners. Not to be outdone, however, parapsychologists argued that their adversaries suffered from a morbid inability to accept the reality of the paranormal. Unable to resolve through experimental means the dispute over who should be allowed to mold the public's understanding of the occult, both sides resorted to defaming their opponent. (c) 2006 Wiley Periodicals, Inc.

Beauty and the market: Actress postcards and their senders in early twentieth century Australia

A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).