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Allusion and the uncanny

This book explores the relationship between allusion and the uncanny in literature. An unexpected echo or quotation in a new text can be compared to the sudden appearance of a ghost or mysterious double, the reanimation of a corpse or the discovery of an ancient ruin hidden in a modern city. This study identifies moments where this affinity between allusion and the uncanny is used by writers to generate a particular textual charge, where uncanny elements are used to flag patterns of allusion and to point to the haunting presence of an earlier work. The book traces the subtle patterns of connection between texts centuries, even millennia apart, from Greek tragedy and Latin epic, through the plays of Shakespeare and the Victorian novel, to contemporary film, fiction and poetry. Each chapter takes a different uncanny motif as its focus: doubles, ruins, reanimation, ghosts and journeys to the underworld.

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Reading, space and intimacy in Chaucer’s Troilus and Criseyde
Andrew James Johnston

the act of reading as assumed by traditional research. Instead of a quasi-structuralist binary that establishes a contrast between ‘male’, ‘classicist’, ‘Latin’, ‘epic’, ‘historical’ and ‘hermeneutically sophisticated’, on the one hand, and ‘female’, ‘focused on the present’, ‘vernacular’, ‘romance’, ‘love-related’ and ‘identificatory’, on the

in Love, history and emotion in Chaucer and Shakespeare
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Masculinity, sexuality and exploration in the Argonaut story of Kingsley’s The Heroes
Helen Lovatt

significantly shorter than either Apollonius or Valerius Flaccus (an eight-book Latin epic from the first century CE), and this may have appealed to Kingsley. Further, the OA avoids episodes involving sexuality, especially de-emphasising Medeia. The other part which Kingsley chose to follow in detail is the return journey, which in the OA includes the far north. The expansiveness of the Argonauts’ exploration may also have been a factor: this too is passed on to Morris, as I discuss below. Masculinity and the erotic: women and sexuality

in Pasts at play
Ian Campbell

. Lynch’s patron was himself something of a humanist: as a young man he had composed a three-book Latin epic on the life of St Patrick. Blake was also a client of Ulick Burke, earl of Clanricarde, whom Lynch later celebrated in print as the ideal Irish nobleman, and the Galway merchant became a prominent figure in the Catholic Confederation which governed most of Ireland between 1642 and 1649. Blake sought the reward of a baronetcy for his efforts to establish the second Ormond peace in the latter year.1 Lynch lived in Galway until the town’s surrender to a

in Renaissance humanism and ethnicity before race
Jean R. Brink

vernacular French until he was six; his family, servants, and tutors spoke only Latin to him. Neo-Latin literature is formidable. 20 Thomas More wrote his Utopia in Latin. Gabriel Harvey, Spenser's schoolmate at Cambridge, may have begun a Latin epic and did publish Latin tracts and verse. Thomas Campion wrote verses in both Latin and English. Sir Francis Bacon began publishing his terse and epigrammatic vernacular Essays

in The early Spenser, 1554–80
Raleigh’s ‘Ocean to Scinthia’, Spenser’s ‘Colin Clouts Come Home Againe’ and The Faerie Queene IV.vii in colonial context
Thomas Herron

powerful Irish nobility, i.e., Frances Howard, the Countess of Kildare and Elizabeth Sheffield, the Countess of Ormond.41 Among writers, Spenser praises most loudly the poet William Alabaster, who had written a fragment of a Latin epic celebrating Queen Elizabeth and whose immediate family became deeply involved in the Munster plantation, probably as tenants on Raleigh’s lands, in 1595.42 Is there a connection between Spenser’s poem and the Alabaster family activity in Munster? Who knows? Spenser would, nonetheless, logically temper criticism of Raleigh’s courtly woes

in Literary and visual Ralegh
Simon Barton and Richard Fletcher

CAI was the object of an illuminating, yet sadly unpublished, study by G. West, History as Celebration: Castilian and Hispano-Latin Epics and Histories, 1080–1210 AD (Ph.D. thesis, University of London, 1975 ), ch. 4. 2 CAI (ed. Maya Sánchez), pp

in The world of El Cid
Craig Taylor

Merlin by Geoffrey of Monmouth. The poem itself is in Latin epic metre, perhaps echoing Virgil’s Fourth Eclogue which also speaks of a golden age and a virgin, and was taken in medieval Europe to be a prophecy of Christianity. Clerks and other men of understanding considered this matter [whether to place trust in Joan] and among the other writings was found a prophecy of Merlin, speaking in

in Joan of Arc
Matthew Kempshall

, ‘Introductions to the Authors’, in A.J. Minnis and A.B. Scott (eds), Medieval Literary Theory and Criticism c.1100–c.1375 (Oxford, 1988), pp. 18–19; Gregory of Tours, Histories, I.36, p. 91, quoting Jerome, Letters, ed. and trans. J. Labourt (Paris, 1949–63), Ep.LXX, p. 214; Paul the Deacon, History of the Lombards, trans. W.D. Foulke, rev. E. Peters (Philadelphia, 2003), I.25, p. 47; Otto of Freising, Chronicle, V.4, p. 330; cf. R.P.H. Green, Latin Epics of the New Testament: Juvencus, Sedulius, Arator (Oxford, 2007). 93  Conrad of Hirsau, Dialogue on the Authors, trans. A

in Rhetoric and the writing of history, 400 –1500