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Steve Sohmer

Many Shakespeareans rankled at the final scene of the motion picture Shakespeare in Love (1998). Having lost his Viola (Gwyneth Paltrow) to Lord Wessex (Colin Firth), young Shakespeare (Joseph Fiennes) sets quill to paper to capture her spirit in a new play. Here’s how Marc Norman and Tom Stoppard wrote the scene 1

in Reading Shakespeare’s mind
Re-examining paradigms of sibling incest
Jenny DiPlacidi

figures. The relationships between female characters and their brothers or brother-substitutes are often fraught with underlying incestuous desires that are expressed as hidden subtext or explicit incestuous love. In contrast to the potential for abuses of power with which father–daughter relationships are endowed by the nature of the familial bond, the relationships between siblings are grounded in a

in Gothic incest
Open Access (free)
Lesbian citizenship and filmmaking in Sweden in the 1970s
Ingrid Ryberg

fall in love during their driver’s  198 198 Vulnerability and cultural policy Figure 11.2  Eva and Maria go to the archipelago. education course. The focus is largely on the interaction between the women and with Maria’s parents. The couple face homophobic comments from friends and Maria’s father, but also acceptance from Maria’s mother who supports them and encourages them to go on a romantic trip to the archipelago (see ­figure 11.2). With its emphasis on the romantic couple, beautiful images of the natural landscape and a happy end stressing the women’s self

in The power of vulnerability
Natalie K. Eschenbaum

Richard de Fournival’s Bestiare d’amour (c. 1240), Edmund Spenser’s The Faerie Queen 2.11 (1590), George Chapman’s Ovid’s Banquet of Sence (1595), Thomas Tomkis’s play Lingua (1607) and Michael Drayton’s Idea XXIX, ‘To the Senses’ (1616). The narrator of Drayton’s sonnet, for example, calls upon each sense in his attempt to thwart Love’s attack on his heart:   But he with beauty first corrupted sight, My hearing bribed with her tongue’s harmony, My taste by her sweet lips drawn with delight, My smelling won with her breath’s spicery,   But when my touching came to play

in The senses in early modern England, 1558–1660
Open Access (free)
White male vulnerability as heterosexual fantasy
Susanna Paasonen

 133 8 SPECTACULARLY WOUNDED White male vulnerability as heterosexual fantasy Susa nna Paa sonen I n a 2012 interview, E. L. James, the author of the massively popular Fifty Shades novel series, describes its male protagonist Christian Grey as ‘the ultimate fantasy guy. And that’s the point: As long as you accept that fantasy guy –​fantasy sex, fantasy lifestyle, a broken man who needs fixing through love –​what woman could resist that?’ (in Thomas, 2012.) Grey is a twenty-​seven-​year-​old, white, cis-​gendered, Seattle-​based multi-​billionaire businessman

in The power of vulnerability
Open Access (free)
Frank O’Hara
David Herd

better; early technical exercises giving way to the surrealist slabs of such poems as ‘Second Avenue’, giving way in turn to the ‘I do this, I do that’ poems, and then to the Odes, and then to the Love Poems. O’Hara worked harder, and went further, and what resulted was not just a style, but a series of radically different practices. In gratitude for their example, O’Hara took every opportunity, in his art criticism, to document the painters’ value. Thus, for example, ‘Despite the high level of ambition and Circulating: Frank O'Hara 139 execution witnessed in almost

in Enthusiast!
The pleasure of reading comedies in early modern England
Hannah August

sensations aroused by reading and playgoing’, neither they nor their contributors consider the sensations that might be aroused by encountering plays on the page.3 It is my aim in this chapter to do precisely that, with particular focus on printed comedies: the genre of which, as Philip Stubbes points out a year after Gosson, ‘the matter and ground is love’, meaning that they are most likely to produce the same aphrodisiac effects that the antitheatricalists fear in performance.4 Where performed comedies supposedly produce a titillating pleasure that relies on the stimulus

in The senses in early modern England, 1558–1660
The inflection of desire in Yvonne Vera and Tsitsi Dangarembga
Elleke Boehmer

to one another, Sissie is suddenly unable to find words for the emotion that rises up between them, while she at the same time discourages herself from feeling aversion.10 As regards same-sex desire in Rebekah Njau, Selina’s affair is unsurprisingly stigmatised by a male character in the novel as ‘not the normal type of love’.11 In that Selina’s fractured personality is deviant on several other counts also, the narrative appears to reject what it simultaneously also acknowledges, by projecting a cluster of wayward desires on to her, as if she were a scapegoat

in Stories of women
Staging visual clues and early modern aspiration
Jackie Watson

fell in love, and the means by which they established a false appearance. It was both highly valorized and deeply distrusted. Nowhere was it more so than at court, where men depended, for preferment and even survival, on the images they projected to others, but where their manipulation of one another was often interpreted as morally dubious. In their depictions of the performative nature of court life and the achievement of early modern ambition, late Elizabethan plays were engaged in this debate, and stage and court developed analogous modes of image projection

in The senses in early modern England, 1558–1660
Father– daughter incest and the economics of exchange
Jenny DiPlacidi

the Female Gothic, predicated on the notion of children desiring the opposite-sex parent who raises them and seeing the same-sex parent as a rival. Sigmund Freud argued that ‘the simplest course for the child would be to choose as his sexual objects the same person whom, since his childhood, he has loved with what may be described as a damped-down libido’. 5 Freud believed that incestuous desires rearoused

in Gothic incest