A Room in Chelsea: Quentin Crisp at Home
Quentin Crisp's 1968 autobiography The Naked Civil Servant was adapted to considerable success in Jack Gold's 1975 television film, with John Hurt in the role. Crisp would identify himself as ‘bohemian’ as much as queer, and in his writings he traces a life in which London bedsits and rooming houses are home to those, like himself, whose wilful social otherness meant a rejection of domestic mores. Crisp's anarchic attitude towards domesticity and homemaking would become highly quotable, and the image of his Chelsea room enculturated as a quite singular provocation of ‘good’ domesticity. Crisp's room would correspond with cultural representations of the bedsit as a marker of liminal identity, and the media fascination to which it was subject reveals not only the political motivations of journalists often blind to the very rich life of The Naked Civil Servant, but also that they were oblivious to Crisp's performative tendencies and his own hyperbole about his room as a place of exile.
An exhibitionist.
Inevitably, reading is one of the requirements to be undergone. To improve the performance and quality, someone needs to have something new every day. It will suggest you to have more inspirations, then. However, the needs of inspirations will make you searching for some sources. Even from the other people experience, internet, and many books. Books and internet are the recommended media to help you improving your quality and performance.
Apartment Stories: City and Home in Nineteenth-Century Paris and London
In urban studies, the nineteenth century is the "age of great cities." In feminist studies, it is the era of the separate domestic sphere. But what of the city's homes? In the course of answering this question, Apartment Stories provides a singular and radically new framework for understanding the urban and the domestic. Turning to an element of the cityscape that is thoroughly familiar yet frequently overlooked, Sharon Marcus argues that the apartment house embodied the intersections of city and home, public and private, and masculine and feminine spheres. Moving deftly from novels to architectural treatises, legal debates, and popular urban observation, Marcus compares the representation of the apartment house in Paris and London. Along the way, she excavates the urban ghost tales that encoded Londoners' ambivalence about city dwellings; contends that Haussmannization enclosed Paris in a new regime of privacy; and locates a female counterpart to the flaneur and the omniscient realist narrator--the portiere who supervised the apartment building.