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Sam Rohdie

Desire Io stesso sono dell’epoca di Mann, Proust, Mahler. Sono nato nel 1906 e il mondo che mi ha circondato, il mondo artistico, ­letterario, musicale, è quel mondo li. Non è un caso che mi ci senta ­attaccato. Probabilmente ho anche dei ricordi visivi, figurativi, una specie di memoria involontaria che mi aiuta a ricostruire l’atmosfera di quell’epoca. Oggi è tutto diverso. Se dovessi fare oggi un film ­moderno non so dove andrei a cercare i miei ambienti; mi sembra tutto molto meno interessante, mi sembra, come dire, molto meno stuzzicante. La società europea

in Film modernism
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Swinburne and lyric crisis
Marion Thain

The lines of Swinburne’s poetry delineate the poetically perverse, the metrically masochistic, and the sensuously sadistic. Yet it is not the sexual intensity of his poetry that I explore in this chapter, although the pun in my title deliberately evokes these aspects of Swinburne’s poetry to tease from them a perversely chaste account of lyric community. ‘Desire lines’ is

in Algernon Charles Swinburne
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Sexualities on the move?
Andrew Asibong

frankness and a refreshing casualness. Whether via the shyly fellating male lovers of Scènes de lit (1997), the enthusiastic sodomies of 1995’s La Petite Mort, 1996’s Une Robe d’été, and 2005’s Le Temps qui reste, or the unexpectedly numerous all-star Sapphic couplings of 2002’s 8 femmes, Ozon conveys a world in which same-sex desire is both irrepressible and seemingly ubiquitous. 4 While these

in François Ozon
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Cosmography and chorography
Tamsin Badcoe

example, a way of approaching coastal space, which Elizabeth Jane Bellamy has described as the possible site of ‘a numinous poetics’ in Spenser’s poem. 4 Spenser’s Knight of Chastity is famously good at crossing thresholds and the origins of her quest are located using both the contours of regional Welsh geography and an unusual interest in the names of places. 5 In order to sound Glauce’s meaning when she avows to her charge that she will try ‘by wrong or right/ To compas [her] desire, and find that loued knight’ (III.ii.46), I connect Spenser’s regional descriptions

in Edmund Spenser and the romance of space
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Fantastic Renaissance spectacles
Elisabeth Bronfen and Beate Neumeier

questions about the act of seeing, the nature of perception and its relation to knowledge. These uncertainties emerge in transformational processes foregrounding themes of vision and themes of desire and their intersections with shifting emphasis (to borrow Todorov’s distinction without its theoretical underpinnings). The obsession with monstrous creatures and horrifying

in Gothic Renaissance
Male bodies and manliness
Joanne Begiato

1 Figures, faces, and desire: male bodies and manliness Introduction Manliness was conveyed through beautiful, virile, male bodies; men’s muscles, hair, stance, movement, and facial features delineated, even rhapsodised, in print, visual, and material culture.1 Such appealing male figures and faces were associated with positive emotions that were coded as both manly and moral.2 This chapter explores their changing forms over time, but also addresses the question raised by such bodies. Intended to promulgate and disseminate exemplary masculinity, what purpose did

in Manliness in Britain, 1760–1900
Exploring gender, anti-racism, and homonormativity in Shamim Sarif ’s The World Unseen (2001) and I Can’t Think Straight (2008)
Alberto Fernández Carbajal

backdrop is one against which Sarif’s characters routinely struggle, testing the boundaries of officially designated spaces with anti-racist intent, which intersects with issues of female same-sex desire. This chapter offers a combined examination of the conjoined anti-racist, anti-homophobic, and feminist stance of Sarif’s first novel with that of Sarif’s own screen adaptation of it, released in 2008, the same year as Sarif’s film debut, I Can’t Think Straight , and the literary version of the story that was created in conjunction with it

in Queer Muslim diasporas in contemporary literature and film
The case of Pier Paolo Pasolini
Michael Mack

on the desire for power and the power of desire. This chapter focuses on Pasolini’s creation of a form of new politics. This novel form of politics interrupts the violence which governs the desire for power that has come to coincide with the power of desire. This coincidence of sexuality, domination and violence characterises what Freud presented when he first discussed the Oedipus

in Incest in contemporary literature
Henry Scott Tuke
Jongwoo Jeremy Kim

’s own celebrated the joy of Venus’s ‘brine’ shrine. But, in the poet’s present – these ‘starveling times of dearth’ – the ‘wine’ of natural (pre-Christian) desire is banned. Overcoming the sexual poverty of his time, however, the poet seeks to modernise the homoerotic beauty and freedom of the mythological past. He exclaims, ‘Youth, make one conquest more; and take again / Thy rightful crown, in lovers’ hearts to reign!’ Paintings of fishermen and other workers were central to Tuke’s efforts to bring Greek homoeroticism to his modern time. By identifying his

in British queer history
Angela Carter’s re-writing women’s fatal scripts from Poe and Lovecraft
Marie Mulvey-Roberts

Desire, disgust and dead women 183 9 Desire, disgust and dead women: Angela Carter’s re-writing women’s fatal scripts from Poe and Lovecraft Gina Wisker A ngela Carter’s writing is crucial to the rebirth of Gothic horror in the late twentieth century, and an impetus to read, or re-read, myth, fairy tale and the work of Edgar Allan Poe and H.P. Lovecraft – each significant, acknowledged influences. Carter’s work deconstructs the consistently replayed, cautionary narrative of myth and fairy tale in which (mainly young) women are first represented as objects

in The arts of Angela Carter