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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.

Queer As Folk and the geo-ideological inscription of gay sexuality

In this essay I explore the ways in which, within a geo-ideological analysis of the controversial Channel 4 drama series Queer As Folk, one may view fundamental issues regarding the politics of the representation of gay sexuality. My use of a popular cultural colloquialism, ‘kinky sex’, is deliberately, ironically provocative. Within that term are potent subtextual signifiers of erotic otherness and exotic marginalised positions: the ‘kink’ is simultaneously ‘bent’ (a diminutive pejorative of homosexuals) whilst, as a deviation from a restrictive normative

in Popular television drama
Critical perspectives

This book aims to provide resources for critical thinking on key aspects of television drama in Britain since 1960, including institutional, textual, cultural and audience-centred modes of study. It explores the continuing popularity of the situation comedy, and makes a convincing case for considering sitcom as a key popular genre. By offering a sense of how 'real' audiences respond to, and engage with, actual programmes in specific social situations, dominant conceptions of the social meanings of Carla Lane's Butterflies and Jimmy Perry and David Croft's Dad's Army are challenged and renegotiated. The book takes up Queer As Folk to focus on its status as an authored intervention in debates about the representation of homosexuality. It demonstrates that The Prisoner series inhabits contradictions by unpacking the complex question of the series's authorship, and the inadequacy of attributing its meanings to its creator, star performer or production team, for example. The book argues that The Demon Headmaster makes a significant contribution to the project of exploring and defining questions of ethics and justice in social organisation, in part, by claiming children's culture as a space of experimentation, resistance and subversion. It looks at the ways in which television drama embodies assumptions about its audience, and pursues this in a sophisticated way in relation to late twentieth-century television adaptations of 'the female Gothic'. The struggle between the BBC power-base in London and its satellite Departments in Northern Ireland, Scotland, and Wales is also dealt with.

Value and fantasy in Hollinghurst’s house of fiction

This chapter offers a reading of The Line of Beauty, and a reconsideration of The Swimming Pool Library. It begins with the feeling of inhabiting his novels, where the pleasure and excitement of being within his sentences resonates with the ‘scenes’ of his novels: the rich comfort of being within lucid and solidly imagined spaces, and the complex relation of gay sexuality to that pleasure. The edge given to craftsmanlike sentences, and the alert, desiring gaze around beautifully-made and -furnished buildings, signal what is unusual in Hollinghurst’s relation to tradition. They recognise, the chapter argues, that tradition is constantly estranged by the status of built spaces as property, and the capture of property by the mechanisms of value. Hollinghurst writes during and about the London property booms, structuring the fantasies through which we apprehend our subjectivities and their scenes. This chapter thus supplements a realist moral exploration of the traps of desire and aesthetic pleasure with a reading of Hollinghurst’s modernist attention to the fields of value and fantasy.

in Alan Hollinghurst

practising Catholics, such arguments may well appear rather negative. Generally, lesbians and gay men argue that a real positive moral good can be associated with lesbian and gay sexuality in general, and with committed sexual and/or emotional relationships of any type: and, from this perspective, that the law should support rather merely tolerate their relationships.5 To this extent, Charles Curran’s defence of same-sex relationships neatly highlights the clash between religious and secular reasoning about human rights: he is defending such relationships with a weather

in Religion and rights
Place, space and discourse
Editors: Christine Agius and Dean Keep

Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.

status as an authored intervention in debates about the representation of homosexuality, and specifically the social position of gay men in the community of Manchester’s city-centre ‘gay village’. As Billingham shows, the programme drew on Channel 4’s institutional remit to address new configurations of audience, to represent hitherto under represented social groups and to debate the terms in which gay sexuality and its subcultural expressions could be given a place in prime time. By exploiting the specific cultural geography of Manchester’s Canal Street, which

in Popular television drama

confirmed as a thoroughly masculine, as well as a gay, prerogative. The political implications of viewing and celebrating the aesthetically appealing male face and body continued as the magazine underwent title changes through the latter part of the 1970s and the early 1980s. As Alan Purnell began to undertake new entrepreneurial ventures that catered to the desires of gay men for more images and material that celebrated gay sexuality, the magazine began to address not only portrayals of men in print pornography but also in gay films. When Purnell introduced his 1977 film

in British queer history
The inflection of desire in Yvonne Vera and Tsitsi Dangarembga

centre of this chapter, Dangarembga and Vera herself constitute for my purposes a strategic pairing: as Zimbabwe’s two most prominent women writers they are also linked in their contemporaneity. Neither has, admittedly, explicitly addressed gay sexuality in her work, no doubt for some of the social reasons outlined. I have chosen them, however, because both writers have in noted ways widened the boundaries of what it is possible to say about women, their desires, phobias and aspirations, as the quotations above suggested. As I will explain further, my definition of

in Stories of women
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simply as marginal with regard to a dominant, stable form of sexuality (heterosexuality) against which it would be defined either by opposition or by homology ... Thus, rather than marking the limits of the social space by designating a place at the edge of culture, gay sexuality in its specific female and male cultural (or subcultural) forms acts as an agency of social process Introduction 5 whose mode of functioning is both interactive and yet resistant, both participatory and yet distinct, claiming at once equality and difference.6 Queer theory therefore

in Tomboys and bachelor girls