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Interview with Gideon Koppel
Paul Newland

11 sleep furiously: interview with Gideon Koppel Paul Newland Paul Newland In his excellent review in The Guardian, Peter Bradshaw called sleep furiously a ‘documentary love-​letter to Trefeurig’.1 I  understand you spent some of your younger years in this part of rural west Wales. How far does the film feel like an engagement with or representation of ‘home’ for you, and how far does the landscape –​as you captured it –​feel homely or not to you? Gideon Koppel Yes –​I spent two formative teenage years living in the community of Trefeurig, although my family

in British rural landscapes on film
Swamp Thing and the intertextual reader
Michael Bradshaw

narrative paradox. In the cover image and first few pages of ‘The Sleep of Reason’, he and Abigail Cable play flirtatiously at ‘creature from the black lagoon’, the vulnerable beauty suddenly grabbed by a vile creature emerging from below, a humorous salute to the pulp horror of the comic’s origins and simultaneously an assertion of having transcended them. 6 When

in Alan Moore and the Gothic Tradition
Sasha Handley

7 Sleep-piety and healthy sleep in early modern English households Sasha Handley Despise not the Rules for promoting Health and Temperance, the ways of God and Nature are plain and simple, but mighty in operation and effects, the Body is an Instrument to the Soul, and being out of tune no harmony can be expected in the microcosm.1 The merchant, campaigner for vegetarianism and author of popular lifestyle guides Thomas Tryon was convinced that a strict regimen of bodily discipline held the key to the long-term preservation of physical and spiritual health.2 He

in Conserving health in early modern culture
Megan G. Leitch

In the fifteenth-century morality play Mankind , the title character rejects labour and prayer by indulging in intemperate sleep. When he sinks into sinful sloth, Mankynde declares: ‘Of labure and preyer, I am nere yrke of both; I wyll no more of yt, thow Mercy be wroth. My hede ys very hevy, I tell yow forsoth. I xall slepe full my bely and he wore my broþer.’ 1 Mankynde

in Sleep and its spaces in Middle English literature
Ethics, emotions, dreams
Author: Megan G. Leitch

Middle English literature registers intimate concerns with sleep and the spaces in which it takes place. These concerns about sleep, and the intersecting medical and moral discourses with which they engage, have been overlooked by studies more concerned with what sleep sometimes enables (dreams and dream poetry), or with what sleep sometimes stands in for or supersedes (sex). In the medieval English imagination, sleep is an embodied and culturally determined act, both performed and interpreted by characters and contemporaries; both subject to a particular habitus, and understood through particular, and pervasive, hermeneutic lenses. This book argues that sleep mediates thematic concerns and questions in ways that carry specific ethical, affective and oneiric implications in the medieval English cultural imagination, and that also offer defining contributions to different Middle English genres: romance, dream vision, drama and fabliau. Concentrating particularly on the fourteenth and fifteenth centuries, this book also attends to a longue durée in the literature and ideas about sleep circulating from the twelfth century to the early seventeenth. It focuses on continuities in the construction of sleep across this span – scientific, social, spiritual and spatial continuities – and explores the cultural specificity of premodern English literature’s widespread interest in sleep. Analysing the ways in which representations of sleep in a range of genres animate ethical codes and emotive scripts, this book’s contributions include establishing the significance of sleep-related motifs to Middle English romance, and offering a more embodied understanding of dream visions by Chaucer, Langland and the Pearl-poet.

Megan G. Leitch

In the literature of medieval England, the spaces of sleep mediate a range of desires. As the opening descriptio topos of Britain in Geoffrey of Monmouth’s twelfth-century Historia Regum Britanniae asserts, this ‘best of islands’ is characterised by pleasant meadows and streams which ‘offer[…] the assurance of gentle sleep to those who lie by their banks’ (‘pignus suauis soporis in ripis accubantibus irritant’). 1 Here, certain insular spaces are understood as intimately connected with, and inherently

in Sleep and its spaces in Middle English literature
Megan G. Leitch

Chardri’s thirteenth-century Anglo-Norman Life of the Seven Sleepers offers a striking focus on how emotions engender sleep. In Chardri’s description, when the Seven Sleepers of Ephesus fall asleep in the cave in which they are hiding from their persecutors, their emotions play a causal role: Ke par dolur, ke par penser Endormirent li set bacheler. Kar ceo avent, sachez, suvent Ke gent, quant il sunt trop dolent

in Sleep and its spaces in Middle English literature
The case of Guy and Arnaud de Lummen
Johanna Zanon

The term ‘sleeping beauty’ is used to describe a Parisian haute couture brand that, once world-renowned but long dormant, has been rediscovered and reintroduced as a brand in the contemporary market. A sleeping beauty business embodies a new type of creative industry whose aim is to recover, from a prestigious past, a cultural asset for use in the future. For a company to be a sleeping beauty, it has to have gone through a disruption of its main activity and key players, including the designer and the entrepreneur. While this chapter examines sleeping beauties

in European fashion
Rebecca Munford

The storytellers have not realised that the Sleeping Beauty would have awoken covered in a thick layer of dust; nor have they envisaged the sinister spiders’ webs that would have been torn apart at the first movement of her red tresses. (Georges Bataille, ‘Dust

in Decadent Daughters and Monstrous Mothers
Convalescent care in early modern England
Hannah Newton

4 ‘She sleeps well and eats an egg’: convalescent care in early modern England Hannah Newton Early modern diaries and letters are replete with complaints about the state of the body after illness. ‘A long sicknes … has much drained mee … and indeed … my feeble hands … can scarce write’, remarked Rev. Thomas Lowgh from Cumbria in 1654.1 A few years later, the London gentlewoman Ann Fanshawe recorded in her memoirs, ‘a very ill kind of fever … brought me so low that I was like an anatomy’.2 In 1697, Elizabeth Freke from Norfolk lamented, ‘God raised me up againe

in Conserving health in early modern culture