Applying Butler‘s gender performance theory and critiquing authoritative philosophical discourse on the sublime, the essay examines the Gothic sublime as phantasmatic masculine drag. Focusing on Walpole‘s flamboyant flouting of Longinus‘s rhetorical prescriptions, the essay also explores how The Castle ofOtrantos fictional progeny continue to drag sublimity into Gothic drag king performances.
This is the first extensive study of literary swooning, homing in on the swoon’s long, rich and suggestive history as well as its potential for opening up new ways of thinking about the contemporary. From the lives of medieval saints to recent romance fiction, the swoon has had a pivotal place in English literature. This study shows that swoons have been intimately connected to explorations of emotionality, ecstasy and transformation; to depictions of sickness and of dying; and to performances of gender and gendering. A literary history of swooning is therefore also a history of crux points for how we imagine the body, and for evolving ideas of physiology, gender, and sexuality. Tracking the history of the figure of the swoon from the thirteenth to the twenty-first century, this study suggests that the swoon has long been used as a way to figure literary creation and aesthetic sensitivity: from the swoons of early mystics to contemporary literary-theoretical depictions of destabilised subjects, literary faints have offered a model of overwhelming, aesthetic, affective response. In the work of Chaucer and Shakespeare, swoons are seen as moments of generic possibility, through which the direction of a text might be transformed. In romantic, gothic and modernist fiction, this study focuses on morbid, feminised swoons used by writers who reject masculinist, heteronormative codes of health. In contemporary romance fiction, irony, cliché and bathos shadow the transformative possibilities of the swoon. This book offers an exciting new way to examine the history of the body alongside the history of literary response.
movements are constructed in part
through public performance and spectacle, and that these are themselves
gendered acts. ETA’s early forays into public consisted primarily of smallscale clandestine activities such as painting grafﬁti and ﬂying the illegal
Basque ﬂag. Such actions aimed to mark the borders of the Basque nation,
but they also operated to establish gendered boundaries within the radical
nationalist movement. Moreover, despite claims to national difference, a
striking feature of nationalist public performance was the way in which it
mirrored the gendered
, sustaining and lending authenticity to their genderedperformances. Photographs from the SOE exhibition or ‘Demonstration Room’ at Natural History Museum.
In order to be able to move about the city freely, he decided on a complete change of personality. A friendly hairdresser gave him a permanent wave, but when it was done it looked too artificial. He washed his hair in soap flakes several times to get out the thick grease with which it was darkened. When it had dried it was back to its original light brown shade and frizzled like the back of a sheep. He trimmed
In the previous chapter, various accounts of different wartime masculinities were analysed. Male agents made investments in particular kinds of genderedperformances by emulating civilian men in order to facilitate their successful passing as ordinary French nationals. Like their male counterparts, female agents also recall the importance of behaviour appropriate for the region in which they were operating. They undertook specifically feminine performances by mobilising conventionally attractive appearance and appropriate conduct which usually made it possible
interactions with South Asians who are portrayed as invaders because
they use cricket spaces to perpetuate their own cultural heritage and
genderperformances. We know that ethnic groups generate boundaries
around themselves based on shared criteria for evaluation. Their
contrast to groups with other criteria for judging values, heritage,
gender and ethics allows boundaries to be delineated. Importantly
inheritance’. Abbott’s rejection of traditional working-class
identity as a televisual ‘compulsory inheritance’ of greyness underscores
66 Paul Abbott
his determination to inject colour and quality into the very veins of
twenty-first-century British television.
Equally vibrant and politically potent in terms of its various representations of genderperformance, Clocking Off, a series so chronically
bound up with the significance of the temporal, also demonstrates what
could certainly be classified as a fin-de-siècle feminist
sexual nature of the dandy
is more complicated and more fraught than most writers have assumed,
Hadlock importantly points to an initial disconnect within the figure that
registers his masculinity as a site of tension, dislocation and even trauma.
With this in mind, this chapter is not an exploration of the artist’s entire
oeuvres – other Swedish scholars have attempted to do so already.13 To
focus on Dardel’s dandy is to recognise how a languid, ephebic, brightly
attired deco dandy served as a site of pleasure and desire as much as a
Queering time, place, and faith in the diasporic novels of Rabih
Alberto Fernández Carbajal
experience of violent male sexuality. In addition, at one point, her brother Ramzi’s boyfriend Peter arrogantly states: ‘Simply thinking of you as a mother is disconcerting’ (Alameddine, 2003 , p. 246), for she does not have an emotionally dependent relationship with her son Kamal, and it is his father, Omar, who primarily brings him up after their return to Lebanon while Sarah stays on in America. In a manner similar to her irresolutely mixed Lebanese and American identities, Sarah’s genderperformance, best embodied during adulthood in her unconventional motherhood, as
photographical works by music groups as well as prominent women artists such as Zemira Alajbegović, Gržinić and Aina Šmid, and Vlasta Delimar, this chapter highlights how Yugoslav emancipatory performance politics and liberatory plays on genderperformance pushed for the embrace of women's desires in spite of unceasing patriarchal domination in Yugoslavia.
Analyzing the significance of emancipatory and sexually charged politics for the immediate postwar context in Yugoslavia, the chapter also considers the seminal role of Merlinka, a well-known transgender