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When the first edition of Queering the Pitch was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of Queering the Pitch is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.
In her last years she watched with dismay the emergence of fascism.".
Female Gothic Histories traces the development of women's Gothic historical fiction from Sophia Lee's The Recess in the late eighteenth century through the work of Elizabeth Gaskell, Vernon Lee, Daphne du Maurier and Victoria Holt to the bestselling novels of Sarah Waters in the twenty-first century. Often left out of traditional historical narratives, women writers have turned to Gothic historical fiction as a mode of writing which can both reinsert them into history and symbolise their exclusion. This study breaks new ground in bringing together thinking about the Gothic and the historical novel, and in combining psychoanalytic theory with historical contextualisation.
This book is the first full-scale exploration of the fiction of one of the most influential women writing in English in the late nineteenth and early twentieth centuries. While Lee's work was well-admired in her own day, her fiction and her writings on aesthetics, 'The Woman in Question' and psychology appeared anachronistic to later twentieth-century audiences. The recent upsurge of interest in the culture of the fin de siécle and lesbian Modernist writing has assured Lee a well-deserved critical resurrection and this book explores her ground-breaking literary work in light of the turbulent friendships that she had with figures such as Oscar Wilde, H.G. Wells and Virginia Woolf. A belle-lettriste, a self-consciously Continental intellectual and a pacifist, Lee's changing authorial masks doubly participate and anticipate the wider shift from Victorian earnestness to Modernist play marking British letters over the course of fifty years. Ultimately, however, Lee emerges as an increasingly isolated