Search results

You are looking at 1 - 4 of 4 items for :

  • "pre-modern era" x
  • Literature and Theatre x
  • All content x
Clear All
Stephanie Downes

The face is a vital site of embodied emotional display. By examining descriptions of facial pallor in a range of Chaucer’s works, Downes explores the poet’s representation of the face as an affective text, which launches an interpretative challenge to both the medieval and the modern reader of fiction, as well as deepening our understanding of cultural expressions of feeling in the pre-modern era.

in Contemporary Chaucer across the centuries
Abstract only
William Blake's Gothic relations
David Baulch

the same time, Jerusalem is one figure for a pervasive and a priori process descriptive of all existence. To appreciate the Gothic in Jerusalem , is only to recognise what we have always been, before, as Blake would have it, the disciplinary regimes of classical and neo-classical thought obscured it. What is revolutionary about the Blakean Gothic's break from the past is also, paradoxically, its return to a pre-modern era that signals

in William Blake's Gothic imagination
Elite women in Caxton’s Book of the Knight of the Tower
Elliot Kendall

, ‘Labouring to Make the Good Wife Good in the journées chrétiennes and Le Menagier de Paris’, Florilegium, 23 (2006), 19–​40. 6 Compare Felicity Riddy’s contention that ‘domesticity as a “state of mind” does not necessarily rest on a distinction between working and residing, or the home and the world, or on a separation of spheres along gender lines’ and that ‘for the pre-​modern era we need a different model’. Felicity Riddy, ‘ “Burgeis” Domesticity in Late-​ Medieval England’, in Maryanne Kowaleski and P. J. P. Goldberg (eds), Medieval Domesticity:  Home, Housing and

in Household knowledges in late-medieval England and France
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

virtuous manners of the Reader’. 21 The terms by which Longsword was assessed are also intriguingly present in the reviews of The castle of Otranto . Even before Walpole appended the subtitle ‘a Gothic story’ to the second edition of his tale, Otranto was concerned with exploring and representing the Gothic past, both as a barbaric, pre-modern era, and as an important phase in the conception of political liberty and virtue. Accordingly, the novel's reception, in its first and second editions, revolved

in The gothic novel in Ireland, c. 1760–1829