4/9/2023 0 Comments Storyo f hortus conclusus![]() ![]() We would like to express our gratitude to everyone who supported this project and commented upon various parts of it. Brite’s Lost Souls William Hughesġ0 Michael Jackson’s queer funk Steven Bruhmġ1 Death, art, and bodies: queering the queer Gothic in Will Self ’s Dorian Andrew Smith Forster’s A Passage to India Ardel Thomasħ Antonia White’s Frost in May: Gothic mansions, ghosts and particular friendships Paulina PalmerĨ Devouring desires: lesbian Gothic horrorĩ ‘The taste of blood meant the end of aloneness’: vampires and gay men in Poppy Z. Published by Manchester University Press Altrincham Street, Manchester M1 7ja, UK British Library Cataloguing-in-Publication Data is available Library of Congress Cataloging-in-Publication Data is available ISBN 8643 4 paperback First published by Manchester University Press in hardback 2009 This paperback edition first published 2011 The publisher has no responsibility for the persistence or accuracy of URLs for any external or thirdparty internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.ġ Introduction: Queering the Gothic William Hughes and Andrew SmithĢ ‘Love in a convent’: or, Gothic and the perverse father of queer enjoyment Dale Townshendģ ‘Do you share my madness?’: Frankenstein’s queer Gothic Mair RigbyĤ Daniel Deronda’s Jewish panic Royce Mahawatteĥ ‘That mighty love which maddens one to crime’: medicine masculinity, same-sex desire and the Gothic in Teleny Diane MasonĦ Gothic landscapes, imperial collapse and the queering of Adela Quested in E. Queering the Gothic edited by William Hughes and Andrew SmithĬopyright © Manchester University Press 2009 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher. Brite’s Lost Soulsĭeath, art, and bodies: queering the queer Gothic in Will Self’s Dorian ‘The taste of blood meant the end of aloneness’: vampires and gay men in Poppy Z. ![]() ![]() Forster’s A Passage to IndiaĪntonia White’s Frost in May: Gothic mansions, ghosts and particular friendships Gothic landscapes, imperial collapse and the queering of Adela Quested in E. ‘That mighty love which maddens one to crime’: medicine masculinity, same-sex desire and the Gothic in Teleny ‘Do you share my madness?’: Frankenstein’s queer Gothic While fashioned to embrace theological and political concerns of the late sixteenth century, these late manifestations of the enclosed garden retain a recognizably medieval character.‘Love in a convent’: or, Gothic and the perverse father of queer enjoyment Enormously productive in the late middle ages, the iconography of the hortus conclusus was appropriated in Elizabethan England by poets and gardeners alike and may be found in plays including Shakespeare's Richard II, Romeo and Juliet, and The Winter's Tale, as well as in actual gardens, among them Theobalds, Kenilworth, Wimbledon, and Nonsuch. A concept ultimately derived from Canticles 4.12, the idea of the enclosed garden was read allegorically, if differently, by both Catholic and Protestant exegetes. Situating its discussion among recent ecocritical developments in studies of Shakespeare and the literature of the English Renaissance, this essay considers the medieval enclosed garden, or hortus conclusus, as a way of being in the world that was available to the Elizabethan imagination. ![]() Some Versions of the Hortus Conclusus in Elizabethan Landscape and Literature Some Versions of the Hortus Conclusus in Elizabethan Landscape and Literature ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |