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The "Wrecking Ball" singer features in the moodily lit Spring 2014 campaign, but there’s something up with her co-star.

TWENTYSOMETHING

Not yet 21, Kate Winslet is established as Hollywood's favourite young British actor. She still can't believe her luck

Graves, the new destination

Should we go sightseeing at the Titanic? Godfrey Hodgson asks when we may break an ancient taboo

'It would be cheaper to lower the Atlantic'

(So said Lew Grade in 1979. Yesterday the pounds 3.3m operation to rais e the Titanic was abandoned)

Britons make history with Oscar triumphs

Film awards: Unprecedented achievements by Emma Thompson and Nick Park

Space-cakes in Austenland

Elinor and Marianne by Emma Tennant; Simon & Schuster, pounds 9.99; Byronic communes, fevers on the brain: Victoria Coren just about swallows a salacious sequel to `Sense and Sensibility'

I'd just like to thank...

Not so fast. Very little is clear-cut about this year's Academy Awards, except that the British should be worried. At least, that's what they're saying in Hollywood. By Daniel Jeffreys

From drawing-rooms to Wessex wilds

Catherine Pepinster sees Austen make way for Hardy on television

A Wessex tale of Auld Reekie

Jude the Obscure ... set in Edinburgh? `Eccentric academic' Kevin Jackson joined the set of the latest costume drama to hear producer Andrew Eaton's excuse

A WEEK IN POLITICS

Consternation gripped readers all over the nation this week, as they pondered the insultingly direct question mooted on the front page of the current London Review Of Books: Was Jane Austen Gay? The LRB has shown signs of skittishness in the past (like its former editor Karl Miller's crush on Fiona Pitt-Kethley) but this is something else. For the magazine further hints that Ms Austen's sapphic intimacies extended to her elder sister Cassandra.

A leap into the dark

Adam Mars-Jones reviews Heavenly Creatures, a poetic portrait of two te enagers whose fantasies led to matricide

The 50s: a decade when women wore pink meringues

Prom frocks and arch glamour from the Fifties are returning to the forefront of fashion and to the cinema screen. Marion Hume reports

AND WATCH THESE FACES . . .

Ian Hart We know Ian Hart as John Lennon, whom he played in last year's Backbeat, and again in The Hours and the Times, a low-budget drama all about the never-quite-consummated love between Lennon and Brian Epstein. Both performances were stunning, (and each show ed a different side of the rogue Beatle) but in 1995 Hart will show that he has other strings to his bow (or guitar). He appears in no less than three British features: with Hugh Grant in The Englishman Who Went Up a Hill and Came Down a Mountain; in Clo ckwork Mice, Gary Sinyor's follow-up to Leon the Pig Farmer; and as the lead in Ken Loach's Spanish Civil War drama Land and Freedom.

Real Life: Don't board this new childbashing bandwagon: It is violence from adults which produces violence in children, says Penelope Leach

CHILDREN and young people, stereotyped and scapegoated, are always an easy target for society's anger, bewilderment and despair. Mass hysteria is dangerous because it usurps sense and sensibility. Mourning the tragic death of James Bulger and condemning the children accused of killing him, the nation ignores the 90-plus toddlers who die unsung each year at the hands of parents or care-takers. As Geraldine Bedell and her ilk leap on the bandwagon of childbashing with wild talk of 'little emperors' (21 February), nobody notices her blind refusal to distinguish picking up a newborn baby when it cries from letting a three-year-old do anything it pleases; her determined avoidance of everything we know about infant development and socialisation.

CLASSICAL MUSIC / Sense and sensibility: Angela Hewitt - Wigmore Hall

Mendelssohn's unfashionable liking for Bach was not just scholarly pioneering, but acknowledgment of a vital creative source. The Mendelssohn Prelude and Fugue in E minor, Op 35 No 1, with which the Canadian pianist Angela Hewitt opened at the Wigmore Hall on Wednesday, is a brilliant idiomatic tribute and also a heady flight of fancy. Nothing could be closer to the language of Bach's 48 Preludes and Fugues than the loitering fugue subject and its firm andante exposition; yet by the end Mendelssohn, in a thrilling fast-forward, has glided into the enchanted caprices of his Midsummer Night's Dream music.
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