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The crisis of masculinity in Ian McEwan’s early fiction
Justine Gieni

of McEwan’s early work, it is frequently male protagonists who commit sexual violence to gain power. As evidenced in ‘Homemade’, The Cement Garden , and ‘In Between the Sheets’, it is male characters that feel ineffectual, vulnerable or weak and are thus driven by an apparent cultural imperative with the goal of gaining patriarchal dominance. In this way, these characters expose the fragility of the

in Incest in contemporary literature
Open Access (free)
From content warning to censorship
Jack Halberstam

and among student bodies and they mark sexual violence in particular as the most damaging and the most common cause of trauma among students. Both sides ignore the differences between and among students, and all fail to account for the differences that race and class make to experiences with trauma, expectations around protection, and exposure to troubling materials. For example, we could argue that immense damage is done in the classroom through the casual avoidance of certain topics rather than in the act of calling attention to others. So while representations of

in The power of vulnerability
Open Access (free)
Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

understandings of it as law instituted by society. Incest, a sexual act associated with transgression, violations of power and violence, has readily been conflated with sexual violence in Gothic scholarship and consigned to one of two gendered plots. Anne K. Mellor, for example, argues that ‘the Gothic novel written by men presents the father’s incestuous rape of his daughter as the perverse desire of the older

in Gothic incest
The poetics of the Epithalamia
Yulia Ryzhik

poets’ imagery, prosody, and tone. One critic even noted Donne’s ‘Spenserian sweetness’, and his grasp of Spenser’s ‘more literary style’. 2 What is altogether missing from the many comparisons between Spenser’s poem to his bride and Donne’s ‘Epithalamion Made at Lincoln’s Inn’ – and the commentary in the Donne Variorum is a virtual list of examples – is any attention to the poets’ shared invocations of sexual violence, and, specifically, the idea of the bride as fulfilling the role of sacrificial offering. The presence of sacrifice as a

in Spenser and Donne
Thomas Heywood and Hercules
Richard Rowland

captured admirably by Turberville’s ‘Of whome there scapte not one untoucht’. It is worth noting that this allegation of Herculean sexual violence is almost entirely muted in the translation that Wye Saltonstall produced in 1637, and disappears altogether from subsequent English translations throughout the seventeenth century. 16 And it is through his depictions of the women who come into the orbit of Hercules that Heywood destabilises the play’s representation of the protagonist’s inexorable progress from heroic deeds to deification. In the middle of the play, for

in Thomas Heywood and the classical tradition
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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

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Author: Rachael Gilmour

At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.

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Heroism, masculinity and violence in Vietnam War narratives
Angela K. Smith

an examination of a range of textual representations of Vietnam: novels and memoirs by both men and women from both the West and the East. How do these narratives differ from those representing other wars? Does Vietnam bring to a climax the crises of masculinity first identified in the trenches of the Western Front? To what extent does the honesty about violence, and in particular sexual violence, influence the way that we

in Gender and warfare in the twentieth century
Unveiling American Muslim women in Rolla Selbak’s Three Veils (2011)
Alberto Fernández Carbajal

Islamic notions of feminine modesty. In making the film gravitate around these three young women and their individual yet enmeshed perspectives, Selbak explores different challenges assailing Muslim women in the diaspora. Leila’s vignette charts the events in her life leading up to her forthcoming wedding to Ali, dwelling on the patriarchal institution of the arranged marriage, on coveted Muslim virginity, which still renders Arab American women the bearers of family honour, and on sexual violence against Arab women. The film opens with a clear

in Queer Muslim diasporas in contemporary literature and film
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Heterocosms and bricolage in Moore’s recent reworkings of Lovecraft
Matthew J.A. Green

share with From Hell and Voice a meditation on the interrelationship of the occult and the repressive violence of the law (‘The Courtyard’), a concern over the psychic significance of landscape and geography (‘Zaiman’s Hill’) and an anxiety over the ambivalent associations amongst magic, sexual violence and insanity (‘Recognition’). These stories have been republished in

in Alan Moore and the Gothic Tradition