“Prey to some cureless disquiet”: Polidori’s Queer Vampyre at the Margins of Romanticism

2005 ◽  
Author(s):  
Mair Rigby
Keyword(s):  
Sexual Interest ◽  
Mary Shelley ◽  
English Literature ◽  
Male Bonding ◽  
Ghost Story ◽  
Sexual Discourse ◽  
Critical Attention ◽  
The Way ◽  
Gothic Studies

Abstract Dr. John Polidori’s appropriative rewriting of Lord Byron’s unfinished “Fragment” as The Vampyre has long been of interest to the field of Gothic studies for its representation of the first coherent vampire in English Literature. In recent years, the inscription of sexual rhetoric in both texts has attracted further critical attention. Featuring men who traverse the explosively tense line between compulsory homosocial relations and the culturally prohibited horrors of homoerotic desire, these texts can certainly be read in the light of Eve Kosofsky Sedgwick’s identification of the homophobic “paranoid gothic.” However, considered together, The Vampyre and the “Fragment” reveal more than anxieties about male bonding. In this essay, I explore the nexus of concerns raised by The Vampyre, its relation to the “Fragment,” and the perceived relationship between Polidori and Byron with the aim of working towards a repositioning of these marginal Gothic works as indeed both disquieting and deeply queer. The “Fragment” represents Byron’s contribution to the now mythical “ghost story competition” at Villa Diodati in 1816 which also inspired the writing of Frankenstein. The man Mary Shelley dubbed “Poor Polidori” stands on the margins of this famous gathering, but he and his story remain a haunting presence in more than one respect. Focussing upon the way in which modern sexual discourse has helped make the author into an object of sexual interest, I propose that the production of Polidori as a strange, sexually suspect figure strikingly illustrates how the Gothic rhetoric of the sexual “unspeakable” can reverberate out from the text and into our thinking about the author.

scholarly journals A Viewpoint on Accent Services: Framing and Terminology Matter

2021 ◽  
pp. 1-10
Author(s):  
Vikas Grover ◽  
Aravind Namasivayam ◽  
Nidhi Mahendra
Keyword(s):  
Scoping Review ◽  
Linguistic Diversity ◽  
Speech Language Pathology ◽  
Review Of The Literature ◽  
Speech Language Pathologists ◽  
Critical Attention ◽  
Language Pathology ◽  
Accent Modification ◽  
The Impact ◽  
The Way

Purpose: The purpose of this article is to offer a contemporary viewpoint on accent services and contend that an equity-minded reframing of accent services in speech-language pathology is long overdue. Such reframing should address directly the use of nonpejorative terminology and the need for nurturing global linguistic diversity and practitioner diversity in speech-language pathology. The authors offer their perspective on affirmative and least-biased accent services, an in-depth scoping review of the literature on accent modification, and discuss using terms that communicate unconditional respect for speaker identity and an understanding of the impact of accent services on accented speakers. Conclusions: Given ongoing discussions about the urgent need to diversify the profession of speech-language pathology, critical attention is needed toward existing biases toward accented speakers and how such biases manifest in the way that accent services are provided as well as in how clinicians conceptualize their role in working with accented speakers. The authors conclude with discussing alternate terms and offer recommendations for accent services provided by speech-language pathologists.

Signs and sentiment in British wildlife art

2017 ◽  
Author(s):  
William Welstead
Keyword(s):  
Subject Matter ◽  
Affective Response ◽  
Level Of Abstraction ◽  
Critical Attention ◽  
Close Observation ◽  
Human World ◽  
The Subject ◽  
Visual Clues ◽  
The Way

Wildlife art does not receive the critical attention that it deserves. In this chapter, William Welstead considers how the images made after close observation in the field incorporate the signs and visual clues that enable us to identify the species, have some idea of what the individuals are doing and how they relate to the wider environment. These are all important factors in building an informed view of the non-human world and establishing how we feel about it. Wildlife artists tread a difficult path between serving science and catering for the affective response of viewers and between the representational and the abstract in depicting their subject matter. Welstead suggests that the way we recognise wildlife by its overall look or ‘jizz’ means that drawings and paintings can capture in a few lines and shapes the essence of the creature. This economical application of lines and colour therefore allows for at least some level of abstraction. The subject would merit further attention from ecocritics.

Introduction to Frankenstein (1831)

2018 ◽  
Author(s):  
Mary Shelley
Keyword(s):  
Original Work ◽  
Mary Shelley ◽  
Percy Bysshe Shelley ◽  
Lord Byron ◽  
Young Girl ◽  
Ghost Story ◽  
Central Image

In her introduction to the 1831 “Standard Novels” edition of Frankenstein, Mary Shelley accedes to the ongoing requests that she explain how she “then a young girl, came to think of, and to dilate upon, so very hideous an idea?” After describing a bit about her childhood, Mary then describes the gathering of her, Percy Bysshe Shelley, and their friends in the cold, wet summer of 1816 and the challenge issued by Lord Byron to “each write a ghost story.” After suffering from “that blank incapability of invention which is the greatest misery of authorship,” Mary finally conceives of the central image of the revivification of the creature and its abandonment by his creator. Mary also describes the contributions that Percy made to the original work and describes as merely stylistic the alterations she made between the original and the 1831 edition.

The Rhetoric of Supplication: Prayer Theory in Seventeenth-Century England

1993 ◽  
Vol 46 (2) ◽  
pp. 328-357 ◽  
Author(s):  
Cynthia Garrett
Keyword(s):  
Seventeenth Century ◽  
English Literature ◽  
Large Body ◽  
Critical Study ◽  
Devotional Literature ◽  
Critical Attention ◽  
Private Devotion ◽  
Private Prayer

Although Manuals Offering detailed instructions in private prayer are both a distinctive and highly popular form of post-Reformation English literature, relatively little critical attention has been paid to these texts, either by literary critics or historians of religion. Surveys of English devotional literature, such as Helen White's Tudor Books of Private Devotion and English Devotional Literature 1600-1640 and C.J. Stranks's Anglican Devotion, describe the more prominent of these prayer manuals, but no critical study of this large body of literature yet exists. The reasons for this critical neglect are several. As Sam D. Gill's essay on prayer in the recently published Encyclopedia of Religion suggests, the study of prayer itself is still “undeveloped and naive” (2.489).

scholarly journals A Study of Elizabethan Period (1558-1603)

IJOHMN ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 65-86
Author(s):  
Muhammad Javed
Keyword(s):  
English Literature ◽  
Research Paper ◽  
16Th Century ◽  
General Reader ◽  
English History ◽  
The University ◽  
The Church ◽  
The Way

In this study, the researcher has mentioned the writers and their major works in Elizabethan age (1558-1603).  The researcher has mentioned almost nineteen writers and their famous works. By reading this research paper, any general reader can easily understand that who are the major writers of the age and what are their famous works. The language and method of presenting the data are very easy. The researcher also has mentioned the major contributions of this era’s writers. As we know that University Wits also fall in this era, thus the researcher has mentioned them and their works too.  S. Dutta (2014) declared that The University Wits is a phrase used to title a group of late 16th-century English pamphleteers and playwrights who were studied at the universities Cambridge and Oxford. They appeared famous worldly writers. This era has reminisced for its richness of drama and poetry. This era ended in 1603. Elizabeth turns out to be one of the greatest prominent royals in English history, mainly after 1588, when the English beat the Spanish Armada which had been sent by Spain to reestablish Catholicism and defeat England. All the way through the Elizabethan age, English literature has changed from a shell into a delightful being with imagination, creativeness, and boundless stories. It was not about mystery or miracle plays and the poetry was not nearby religion and the principles addressed in the Church.

Emerging Trends: Tradtitional Reading To Modern Reading Through A Series After By Anna Todd

Think India ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 515-519
Author(s):  
T. PREETHI
Keyword(s):  
English Literature ◽  
Emerging Trends ◽  
The Social ◽  
Reading Book ◽  
The Way

American’s contribution to English literature is inestimable. They are known for their fictional writing in different images, themes and backgrounds. Anna Todd is one of the modern American writers. She was known for her famous series called after. She started publishing on the social storytelling platform Wattpad. It is a captivating tale of an innocent girl, Tessa meeting a mysterious boy, Hardin and both were in a literary club. This series is totally about life, love and relationship between Tessa and Hardin but there is another side, where author indirectly show the changes in the way of reading or learning in the first two book After and After We Collided. The traditional way of reading is replaced by the modern way of reading. Book to e-reader.

Queer Scottish Gothic

2017 ◽  
pp. 208-221
Author(s):  
Kate Turner
Keyword(s):  
Recent Article ◽  
Simple Observation ◽  
Critical Attention ◽  
The Way

This chapter’s analysis of queer Scottish Gothic originates from a simple observation: there is a large and coherent scholarship on queer Gothic and Scottish Gothic respectively; however, there is notably little analysis of the way Scottish and queer Gothic may interact. With the exception of one recent article by Fiona McCulloch, queer Scottish Gothic has not yet been given full critical attention. This chapter explores revisions in the treatment of Gothic monsters, traditionally viewed as ‘all that is dangerous and horrible in the human imagination’ (Gilmore 2003: 1), in Louise Welsh’s The Cutting Room (2002), Luke Sutherland’s Venus as a Boy (2004) and Zoë Strachan’s Ever Fallen in Love (2011). More specifically, this analysis considers the dissociation of the monstrous figure from fear and terror in these texts, and suggests that they are repositioned as elusive figures through which the peripheral identities of Scottish and of queer may be simultaneously explored.

Looking for a Few Good Men

2017 ◽  
Author(s):  
Deborah Gray White
Keyword(s):  
Black Men ◽  
New Economy ◽  
Promise Keepers ◽  
Male Bonding ◽  
Million Man March ◽  
The Way

This chapter compares the men of the Promise Keepers and Million Man March for what they wanted from and achieved at the gatherings. It describes the revivalism and spiritualism of the marches. By exploring the way white and black men experienced manhood historically, and in the 1990s, it explains why they marched separately though for many of the same reasons. By exploring the anger and anxiety that motivated their respective gatherings, it demonstrates how the new economy, multiculturalism, and feminism affected them and their respective communities differently, even though their adaptations were paradoxically similar. The marches provide the context for learning about and comparing the way these men approached emotionalism, male bonding, male dependency, patriarchy, homosexuality, and fatherhood.

Men, Masons and Melancholy: The Singularly Masculine Ghost Stories of Rudyard Kipling

2014 ◽  
Vol 4 (1) ◽  
pp. 5-23 ◽  
Author(s):  
William Hughes
Keyword(s):  
Professional Relationships ◽  
Rudyard Kipling ◽  
Male Bonding ◽  
Ghost Stories ◽  
Ghost Story ◽  
Temporary Connection ◽  
Single Sex ◽  
Cultural Origins ◽  
Supernatural Fiction

Kipling's Indian ghost stories concern men – and men in company – just as much as they concern the occult or indeed the Empire and its British cultural origins. They arguably differ, though, from the conventional ghost story through their marked insistence upon the communal response to occult visitation – the need or drive to make haunting something which, if faced alone, is necessarily shared, and so dissipated in the act of communication. Masculinity, too, is characteristically interrogated here. In place of comfortable, familial – and familiar – surroundings, the protagonist is disorientated by the mutability of his environment, its shifts between imposed British paradigms and realities and enduring indigenous difference. In Kipling's supernatural fiction, the cliché of male bonding that promotes single-sex collegiate, fraternal or professional relationships perceptibly sustains the sometimes-temporary connection between disparate individuals immersed in the unprecedented stresses of colonial hauntings, ocean-borne monstrosity or wartime trauma.

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