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I n his 1924 novel A Passage to India , E. M. Forster creates confused national boundaries, collapsed geographic settings and queer sexual and gender identities. In the opening scene of the novel, Forster describes Chandrapore as a city where ‘The very wood seems made of mud, the inhabitants of mud moving’ (7). In a 1915 letter to Syed Ross Masood, a close friend with whom Forster was in love, he

in Queering the Gothic
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Gothic, in a sense, has always been 'queer'. This book illustrates the rich critical complexity which is involved in reading texts through queer theories. It provides a queer reading of such early Gothic romances as William Beckford's Vathek, Matthew Gregory Lewis's The Monk, and Charles Maturin's Melmoth the Wanderer. Building upon critical trend of desire between men, the book examines Frankenstein's engagement with sexual rhetoric in the early nineteenth century. It explores some ways in which the signifying practices of queerness are written into the language and, therefore, the signifying practices of Gothic fiction. Teleny's apparently medicalised representation of homosexual erotic love contains some strikingly Gothic elements. The book examines how the courtroom drama of the E. M. Forster's A Passage to India focuses on the monstrous possibility of miscegenation, an Indian accused of raping an Englishwoman. Antonia White's Frost in May can be contextualised to the concept of the 'lesbian Gothic', which helpfully illuminates the representation of adolescent female subjectivity and sexuality. Same-sex desire is represented indirectly through sensuous descriptions of the female body and intertextual allusions to other erotic texts. The book considers how the vampire has become an ambivalent emblem of gay sexuality in late twentieth-century Gothic fiction by examining Interview with the Vampire and Lost Souls. The understanding of the Gothic and queer theory in a pop video is achieved by considering how Michael Jackson's use of the Gothic in Thriller and Ghosts queers the temporality of childhood.

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Doctor Zhivago (1965), Ryan’s Daughter (1970) and A Passage to India (1984)

Feminising the epic: Doctor Zhivago (1965), Ryan’s Daughter (1970) and A  Passage to India (1984) 6 At the acme of its popularity and power, the epic film’s entanglement with questions of masculinity was unquestionable. There had been female-centred film epics before, most famously Gone with the Wind (1939) but during its postwar Hollywood heyday, the genre’s heroes were almost without exception men and its concerns predominantly masculine in tenor. Films such as Ben-Hur (1959), Spartacus (1960), El Cid (1961) and indeed Lean’s own Lawrence of Arabia provided

in David Lean

. In Forster’s great novel A Passage to India , he seems to have rediscovered the sense of wonder which characterised the earliest British writing on India, while at the same time rejecting the simplistic stereotypes relied upon by earlier writers as a staple of their narrative art. His descriptions of the Indian landscape are precise and evocative, and his Indian characters are drawn on a human

in Asia in Western fiction
The phantasmagoria of Elephanta

was festooned with glittering lights, dispelling with pomp and festivity the terrible images that Ruskin had alluded to. Even without its characteristic gloom, Elephanta remained in the public eye. By the end of the nineteenth century the caves had acquired the status of an emblem of the Indian landscape. ‘Very Indian these islands’, remarked the poet Edward Carpenter on his visit to Elephanta and Salsette, in an account that would inspire E.M. Forster’s famous encounter between the East and the West in the murky depths of the Marabar caves in A Passage to India

in Empires of light
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Ryan’s Daughter (1970) and the blow they dealt to his confidence was a strong contributory factor in his fourteen-year absence from the screen thereafter. With the respectful and celebratory reception of Lean’s final film, A Passage to India (1984) – ‘An old master’s new triumph’12 announced the cover of Time magazine – and the ‘chorus of awe-struck hosannas’13 that greeted the 1989 restoration of Lawrence of Arabia, it might appear that the critical battle had been won, and that Lean’s advocates now outnumbered his detractors. No longer would the director be dispar

in David Lean

acclaim and a permanent home in the UK. For most of his adult life he enjoyed the friendship of another migratory native of the Transvaal, Laurens Jan van der Post, of whom something will be said later. If Earl Miner is correct in saying that ‘no great novel has been written on Japan’, nothing certainly of the stature of A Passage to India , he is also correct when he adds that ‘the example of Plomer

in Asia in Western fiction
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David Lean has been characterised as a director of highly romantic disposition whose films offer a vision of 'the romantic sensibility attempting to reach beyond the restraints and constrictions of everyday life'. This book proposes new perspectives on the work of David Lean and offers a fuller and more varied appreciation of his manifold achievements as a filmmaker. In so doing, the book makes interventions in wider academic debates around authorship, gender, genre and aesthetics in relation to the British cinema and transnational cinema of British cultural inheritance of which Lean was such a remarkable exponent. It first deals with Lean's early career, covering his entry into the film industry and flourishing formative years as an editor, honing skills, and his official entry into direction. It then examines Lean's four forays into the nineteenth century, encompassing his two Dickens adaptations as well as his two later Victorian dramas, both centred on rebellious females. Each film presents a vivid instance of the twentieth century in the process of 'inventing the Victorians'; put together, the quartet of films show how perceptions began to change during the pivotal postwar year. The book also focuses on the gender by focusing on a trio of films about women in love and three films centred on male visionaries.

Imagining the female journeyer

deceased husband’s draconian family, which has dominated and deter­ mined her life since he died. When her brother-in-law confronts her about her subsequent engagement to an Italian, she cries out ‘For once in my life I’ll thank you to leave me alone. I’ll thank your mother too. For twelve years you’ve trained me and tortured me, and I’ll stand it no more.’39 Similarly, in A Passage to India (1924), Mrs Moore is relieved to board a liner back to England before the beginning of Aziz’s trial after Adela Quested accuses him of assaulting her at the Marabar Caves: she ‘had

in Women, travel and identity
Critique and utopia in Benita Parry’s thought

foregrounding and differentiating its engagement with epistemology, aesthetics and ontology. This contrapuntalism impels Parry,in ‘Materiality and Mystification in A Passage to India’, to give an account of Forster’s novel that distinguishes between the politics at work in the representation of individual characters and those at work in the representation of the Indian geographical space; this reading technique also differentiates overt contents from symbolic form. She argues that ‘the fiction, far from rendering India as epistemologically vacant, reconfigures the sub

in Postcolonial contraventions