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First published in 1985, Between Men was a decisive intervention in gender studies, a book that all but singlehandedly dislodged a tradition of literary critique that suppressed queer subjects and subjectivities. With stunning foresight and conceptual power, Eve Kosofsky Sedgwick's work opened not only literature but also politics, society, and culture to broader investigations of power, sex, and desire, and to new possibilities of critical agency. Illuminating with uncanny prescience Western society's evolving debates on gender and sexuality, Between Men still has much to teach us. With a new foreword by Wayne Koestenbaum emphasizing the work's ongoing relevance, Between Men engages with Shakespeare's Sonnets, Wycherley's The Country Wife, Sterne's A Sentimental Journey Through France and Italy, Hogg's The Private Memoirs and Confessions of a Justified Sinner, Tennyson's The Princess, Eliot's Adam Bede, Thackeray's The History of Henry Esmond, Esq., and Dickens's Our Mutual Friend and The Mystery of Edwin Drood, among many other texts. Its pathbreaking analysis of homosocial desire in Western literature remains vital to the future of queer studies and to explorations of the social transformations in which it participates.
At the time of its first appearance in 1985 Between Men was viewed as an important intervention into Feminist as well as Gay and Lesbian studies. It was an important book because it argued that "sexuality" and "desire" were not a historical phenomenon but carefully managed social constructs. This insight (that actually originated with Michael Foucault) is often viewed as anti-humanist or post-humanist because it argues that men and women are simply the products of patriarchal power relations over which they have no control. By mobilizing Foucault's theories of the history of sexuality Sedgwick re-fashions Feminism and Gay and Lesbian Studies to make it seem as though Feminism and Gay and Lesbian studies are ideally situated to continue those interventions into the history of sexuality begun by Foucault.
This is the first book to provide an account of the representation of emotional and sexual relationships between men across English literature from the Renaissance to the modern period. Based on new research but aimed at the student and the general reader, Paul Hammond discusses major writers such as Marlowe and Shakespeare, Tennyson and Wilde, Forster and Lawrence, but also introduces less familiar texts which cast light on the homosexual culture of their periods. There is an extensive bibliography.
In a study that will be of interest to all those concerned with the politics of gender, the history of sexuality, and the erotics of reading, Christopher Craft investigates questions fundamental to any history of present sexualities. How does the modern binary homosexual/heterosexual relate to earlier formulations like "sexual inversion" and "sodomy"? What part does literature play in the development of such categories, or in a culture's resistance to them? And what are the implications for the creation and maintenance of the presumed "natural" male heterosexual subject? How has male heterosexual subjectivity been established as a bulwark against the attractions of a homosexual desire that is repeatedly incited by the very culture that condemns it? Craft examines the discourses of nineteenth-century psychiatry and sexology; some of Freud's central writings; and Tennyson's In Memoriam, Wilde's The Importance of Being Earnest, Stoker's Dracula, and Lawrence's Women In Love. In a study that will be of interest to all those concerned with the politics of gender, the history of sexuality, and the erotics of reading, Christopher Craft investigates questions fundamental to any history of present sexualities. How does the modern binary homosexual/heterosexual relate to earlier formulations like "sexual inversion" and "sodomy"? What part does literature play in the development of such categories, or in a culture's resistance to them? And what are the implications for the creation and maintenance of the presumed "natural" male heterosexual subject? How has male heterosexual subjectivity been established as a bulwark against the attractions of a homosexual desire that is repeatedly incited by the very culture that condemns it? Craft examines the discourses of nineteenth-century psychiatry and sexology; some of Freud's central writings; and Tennyson's In Memoriam, Wilde's The Importance of Being Earnest, Stoker's Dracula, and Lawrence's Women In Love.
Colm Tóibín knows the languages of the outsider, the secret keeper, the gay man or woman. He knows the covert and overt language of homosexuality in literature. In Love in a Dark Time, he also describes the solace of finding like-minded companions through reading. Colm Tóibín examines the life and work of some of the greatest and most influential writers of the past two centuries, figures whose homosexuality remained hidden or oblique for much of their lives, either by choice or necessity. The larger world couldn't know about their sexuality, but in their private lives, and in the spirit of their work, the laws of desire defined their expression. This is an intimate encounter with Mann, Baldwin, Bishop, and with the contemporary poets Thom Gunn and Mark Doty. Through their work, Tóibín is able to come to terms with his own inner desires—his interest in secret erotic energy, his admiration for courageous figures, and his abiding fascination with sadness and tragedy. Tóibín looks both at writers forced to disguise their true experience on the page and at readers who find solace and sexual identity by reading between the lines.
Here at last is a single volume that reveals the bright thread of gay literature throughout the Western tradition. With hundreds of works by authors ranging from Ovid to James Baldwin, from Plato to Oscar Wilde, "The Columbia Anthology of Gay Literature" presents a wide range of poetry, fiction, essays, and autobiography that depict love, friendship, intimacy, desire, and sex between men.
Pale Fire is regarded by many as Vladimir Nabokov's masterpiece. The novel has been hailed as one of the most striking early examples of postmodernism and has become a famous test case for theories about reading because of the apparent impossibility of deciding between several radically different interpretations. Does the book have two narrators, as it first appears, or one? How much is fantasy and how much is reality? Whose fantasy and whose reality are they? Brian Boyd, Nabokov's biographer and hitherto the foremost proponent of the idea that Pale Fire has one narrator, John Shade, now rejects this position and presents a new and startlingly different solution that will permanently shift the nature of critical debate on the novel. Boyd argues that the book does indeed have two narrators, Shade and Charles Kinbote, but reveals that Kinbote had some strange and highly surprising help in writing his sections. In light of this interpretation, Pale Fire now looks distinctly less postmodern--and more interesting than ever. In presenting his arguments, Boyd shows how Nabokov designed Pale Fire for readers to make surprising discoveries on a first reading and even more surprising discoveries on subsequent readings by following carefully prepared clues within the novel. Boyd leads the reader step-by-step through the book, gradually revealing the profound relationship between Nabokov's ethics, aesthetics, epistemology, and metaphysics. If Nabokov has generously planned the novel to be accessible on a first reading and yet to incorporate successive vistas of surprise, Boyd argues, it is because he thinks a deep generosity lies behind the inexhaustibility, complexity, and mystery of the world. Boyd also shows how Nabokov's interest in discovery springs in part from his work as a scientist and scholar, and draws comparisons between the processes of readerly and scientific discovery. This is a profound, provocative, and compelling reinterpretation of one of the greatest novels of the twentieth century.
One of the most common—and wounding—misconceptions about literary scholars today is that they simply don’t love books. While those actually working in literary studies can easily refute this claim, such a response risks obscuring a more fundamental question: why should they? That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have played a vital role in the formation of private life—that the love of literature, in other words, is deeply embedded in the history of literature. Yet at the same time, our love is neither self-evident nor ahistorical: our views of books as objects of affection have clear roots in eighteenth- and nineteenth-century publishing, reading habits, and domestic history. While never denying the very real feelings that warm our relationship to books, Loving Literature nonetheless serves as a riposte to those who use the phrase “the love of literature” as if its meaning were transparent. Lynch writes, “It is as if those on the side of love of literature had forgotten what literary texts themselves say about love’s edginess and complexities.” With this masterly volume, Lynch restores those edges and allows us to revel in those complexities.
Sixteen-year-old Catherine Vernon has been stranded in London for the summer-no friends, no ex-boyfriend Adam the Scum (good riddance!), and absolutely nothing to do but blog about her misery to her friends back home. Desperate for something-anything-to do in London while her (s)mother's off researching boring historical things, Cat starts reading the 1815 diary of Katherine Percival her mom gives her-and finds the similarities between their lives to be oddly close. But where Katherine has the whirls of the society, the parties and the gossip over who is engaged to who, Cat's only got some really excellent English chocolate. Then she meets William Percival-the uber-hot descendant of Katherine-and things start looking up . . .
The instant New York Times Bestseller • Nominated for the 2019 National Book Award for Fiction “A lyrical work of self-discovery that’s shockingly intimate and insistently universal…Not so much briefly gorgeous as permanently stunning.” —Ron Charles, The Washington Post Ocean Vuong’s debut novel is a shattering portrait of a family, a first love, and the redemptive power of storytelling On Earth We’re Briefly Gorgeous is a letter from a son to a mother who cannot read. Written when the speaker, Little Dog, is in his late twenties, the letter unearths a family’s history that began before he was born — a history whose epicenter is rooted in Vietnam — and serves as a doorway into parts of his life his mother has never known, all of it leading to an unforgettable revelation. At once a witness to the fraught yet undeniable love between a single mother and her son, it is also a brutally honest exploration of race, class, and masculinity. Asking questions central to our American moment, immersed as we are in addiction, violence, and trauma, but undergirded by compassion and tenderness, On Earth We’re Briefly Gorgeous is as much about the power of telling one’s own story as it is about the obliterating silence of not being heard. With stunning urgency and grace, Ocean Vuong writes of people caught between disparate worlds, and asks how we heal and rescue one another without forsaking who we are. The question of how to survive, and how to make of it a kind of joy, powers the most important debut novel of many years. Named a Best Book of the Year by: GQ, Kirkus Reviews, Booklist, Library Journal, TIME, Esquire, The Washington Post, Apple, Good Housekeeping, The New Yorker, The New York Public Library, Elle.com, The Guardian, The A.V. Club, NPR, Lithub, Entertainment Weekly, Vogue.com, The San Francisco Chronicle, Mother Jones, Vanity Fair, The Wall Street Journal Magazine and more!