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A queer history

historiography, layering multiple times and perspectives to demonstrate the fundamental instability and idiosyncrasy of interpretation. First, I will provide a brief account of Bryher's life – given her relative obscurity outside of historical studies of modernism – in which I will pay special attention to her relationship with H.D., the modernist poet and ‘since 1919 [Bryher's] companion, sometime lover, and always friend’, 4 and the French bookseller Adrienne Monnier, to whom the novel is dedicated. H.D. and Monnier represent

in Dating Beowulf
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-historical relationship to Beowulf that reveals a queerness at the heart of literary modernism, leveraged through a kitschy plaster bulldog named Beowulf in a novel of the same title by Bryher. Bryher's Beowulf does not, Buchanan argues, directly adapt or correspond to the Old English poem of the same name but rather performs a kind of ‘historical palimpsest’, returning us to an analysis of the women in the Old English Beowulf and the gendering of intimacy in the poem and its afterlives. A knot in the bed sheets of literary history and an important contribution to queer studies

in Dating Beowulf
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Eighteenth- and nineteenth-century views

narrative structures, developments and content. For example, Carole Fabricant argues that the growth in travel literature was related to an increased interest in the figure of the traveller in popular literature, the spirit of scientific enquiry and the importance of the Grand Tour and travel within Britain (not least in the Lake District, Scotland as well as Wales, c. 1795 –1815, when opportunities abroad were limited by war) and was stimulated by the growth in European travel. 26 Elizabeth Bohls stresses the importance of imperial expansion and the ongoing

in Gender, nation and conquest in the high Middle Ages
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about through a combination of lay-led initiatives and elite-driven repressions, and are best appreciated when Scotland is considered within the context of the broader and deeper early modern currents of change in Europe. To put it another way, the ‘reformatioun’ for which David Lyndsay longed is not something historians should seek within medieval developments or Protestant trends, but in the Catholic

in Death, life, and religious change in Scottish towns, c.1350–1560
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Performing the politics of passion: Troilus and Criseyde and Troilus and Cressida and the literary tradition of love and history

injunction, ‘we cannot not periodize’. 14 Yet periods are notoriously fluid and their labels polysemic. ‘Long centuries’ in cultural and literary history make a mockery of the segmentation they repose upon. Terms such as the modern, modernity, modernism, and modernization have multiple overlapping and conflicting denotations exacerbated by their various disciplinary affiliations, for example literary high

in Love, history and emotion in Chaucer and Shakespeare
Timing The Birth of a Nation

he links to such media as print, then film represented a newly powerful medium through which a national collectivity could be reached to a previously undreamt-of extent. Alongside such self-consciously progressive constructions of nationhood, however, North America also followed the trajectory of European nationalisms which, from the late eighteenth to the early twentieth century, looked to the

in Medieval film
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Anatomy of a metaphor

the period from the late 1930s to the early 1960s. 9 Marc Vernet questions whether film noir can be defined by intellectual influences – imported European lighting and film techniques, or the other factors normally associated with the rise of film noir . 10 He finds what we call noir in the American crime film from its earliest beginnings, and attributes the classic definition of Borde and

in Medieval film

folkloric bric-a-brac simulating a return to the cultural origins of Europe and imprinting on the text a secularisation of themes inherited from the medieval and post-medieval period’. 31 The film is representative of how the appropriation of medieval images, clothed as fantasy, becomes a vehicle to serve anachronistically the interests of modern history, a treatment repeated later in Monicelli’s films. The

in Medieval film