Featuring essays from some of the most prominent voices in early medieval English studies, Dating Beowulf: studies in intimacy playfully redeploys the word ‘dating’, which usually heralds some of the most divisive critical impasses in the field, to provocatively phrase a set of new relationships with an Old English poem. This volume presents an argument for the relevance of the early Middle Ages to affect studies and vice versa, while offering a riposte to anti-feminist discourse and opening avenues for future work by specialists in the history of emotions, feminist criticism, literary theory, Old English literature, and medieval studies alike. To this end, the chapters embody a range of critical approaches, from queer theory to animal studies and ecocriticism to Actor-Network theory, all organized into clusters that articulate new modes of intimacy with the poem.
The pleasure of reading comedies in early modern England
dramatic paratexts appear to both create and respond to a
Aesthetic sensory experiences
market desire for printed comedies as repositories of the type of erotic pleasure
that antitheatricalists feared audiences would experience in the theatre. That
such a motivation for playreading existed is confirmed by the early seventeenth-century manuscript commonplace book of William Drummond of
Hawthornden, which I discuss in my conclusion. Craik and Pollard point out
that ‘early modern writers who discussed how it felt to
,‘The work of all three displays an interfusion
of Victorian social realism with the romance tradition’, and continues that
Stoddard, like the Brontës, ‘depicts . . . social reality with a keen awareness
of how kinship, marriage, property ownership, and inheritance intermesh’.5 In exploring the way in which Brontë and Stoddard deploy Gothic
conventions, I want to consider their common and varied representations
of woman’s psycho-social oppression, and erotic nature. Furthermore, I
will investigate the emancipation of each of their heroines from socioeconomic restrictions
The inflection of desire in Yvonne Vera and Tsitsi Dangarembga
preoccupation in several of the novels with the silky textures of a particularly erotic
heterosexuality. As The Stone Virgins conﬁrms, it could indeed be said that Vera
is one of the more explicitly erotic of the literary African writers working today.
This does not, however, close down the signiﬁcations of what might be termed
the excess of sexual yearning in her narratives – on the contrary. Especially in
Under the Tongue, in Vera’s ﬁctional worlds survival is characteristically
achieved by women through dialogue with other women, in particular with
women family members
Beowulf translations by Seamus Heaney and Thomas Meyer
Auden's own understanding of this process involved something he called ‘Literary Transference’, and Remein explains Auden's ‘erotic’ attachment to certain poems in terms of the poet's own experience with Freudian analysis and the intense intimacy of the analyst/analysand relationship.
The practice of ‘talk’ in therapeutic analysis is, I believe, a fruitful model for the translational intimacy I am trying to describe – not only what it is, but also
In May 1958, and four years into the Algerian War of Independence, a revolt again appropriated the revolutionary and republican symbolism of the French Revolution by seizing power through a Committee of Public Safety. This book explores why a repressive colonial system that had for over a century maintained the material and intellectual backwardness of Algerian women now turned to an extensive programme of 'emancipation'. After a brief background sketch of the situation of Algerian women during the post-war decade, it discusses the various factors contributed to the emergence of the first significant women's organisations in the main urban centres. It was only after the outbreak of the rebellion in 1954 and the arrival of many hundreds of wives of army officers that the model of female interventionism became dramatically activated. The French military intervention in Algeria during 1954-1962 derived its force from the Orientalist current in European colonialism and also seemed to foreshadow the revival of global Islamophobia after 1979 and the eventual moves to 'liberate' Muslim societies by US-led neo-imperialism in Afghanistan and Iraq. For the women of Bordj Okhriss, as throughout Algeria, the French army represented a dangerous and powerful force associated with mass destruction, brutality and rape. The central contradiction facing the mobile socio-medical teams teams was how to gain the trust of Algerian women and to bring them social progress and emancipation when they themselves were part of an army that had destroyed their villages and driven them into refugee camps.
The hygienic utopia in Jules Verne, Camille Flammarion, and William
means not only that they do not eat, but that they are also asexual. Conception takes place through a method similar to that of flowers. They feel no erotic pleasure, and all sensations are experienced on an intellectual level only. The novel presents a passionless existence.
Despite the constant denial of materiality in Uranie , however, the narrator does notice some physical activity being carried out on Mars by machines ‘operated by perfected animal races, whose intelligence is
at all? Not to be of your opinion on some of these points is to make
myself clear enough about the others.
Of no less importance: what are the ties –
economic, moral, erotic – which make possible the
constitution and continuous reconstitution of a people as such from
an assortment or multitude of humans? And at what cost to their
private, domestic space. As most visual representations show, passengers were seated close to one another, their bodies often touching, and they had to literally face each other for the duration of the ride. Moreover, the ephemeral, transient nature of omnibus encounters was imagined as conducive to fleeting sexual pursuits. It is thus not surprising that the vehicle was construed at once as a space of moral dangers for respectable women and as a site of erotic opportunities for men. The narrow interior encapsulated particularly well tensions and ambiguities surrounding
and ﬁrst-person interjections from one or other of the
main characters, often set up like monologues in a play. Signiﬁcantly, as in Vera
and Roy, both novels concentrate on the articulation of personal emotions and
feelings, in particular on erotic self-fulﬁlment.
However, where in Diﬃcult Daughters a personal jouissance, or women’s selfexpression generally, is placed in a marginal position in relation to the authoritative narratives of the traditional family on the one hand, and the
coming-into-being of the nation on the other, in A Married Woman the situation is