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Relevant bibliographies by topics / Polidori, John William, in fiction

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Academic literature on the topic 'Polidori, John William, in fiction'

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Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Polidori, John William, in fiction"

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Stiles, Anne, Stanley Finger, and John Bulevich. "Somnambulism and Trance States in the Works of John William Polidori, Author ofThe Vampyre." European Romantic Review 21, no. 6 (December 2010): 789–807. http://dx.doi.org/10.1080/10509585.2010.514510.

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MADSEN, DEBORAH L. "Hawthorne's Puritans: From Fact to Fiction." Journal of American Studies 33, no. 3 (December 1999): 509–17. http://dx.doi.org/10.1017/s0021875899006222.

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Nathaniel Hawthorne's view of his first American ancestors as belonging to a grim and gloomy race, impatient with human weaknesses and merciless towards transgressors, reflects a wide-spread popular attitude towards the Massachusetts Bay colonists. Indeed, Hawthorne's contribution to the construction and perpetuation of this view is not inconsiderable. Hawthorne frankly confesses to his own family descent from one of the “hanging judges” of the Salem witchcraft trials, and he does not spare any instance of persecution, obsession, or cruelty regarding the community led by his paternal ancestors. But Hawthorne does not stop at indicting his own family history; in a famous exchange with the president of Hartford College, Thomas Ruggles Pynchon, shortly after the publication of The House of the Seven Gables (1851) Hawthorne is accused of blackening the reputation of another of New England's great colonial families. Hawthorne denied any knowledge of a “real” Pynchon family, let alone one with living (and litigious) descendants. He apologized for his mistake and offered to write an explanatory preface (which never appeared) for the second edition. Historical evidence suggests that Hawthorne, in fact, knew the history of the Pyncheon family, in particular William Pyncheon and his son John, of Springfield, who shared political and business connections throughout the mid-seventeenth century with William Hathorne of Salem. William Hathorne was a notorious persecutor of Quakers and his son John was the “hanging judge” of the witchcraft trials; William Pyncheon was a prominent fur-trader and founder of several towns along the Connecticut River who left the colony abruptly in circa 1651 accused of heresy. Given this history, a more likely model for the grim Colonel Pyncheon of Nathaniel Hawthorne's novel is rather a composite of John and William Hathorne than William Pynchon. So why should Nathaniel, who had already in his fiction revealed his family skeletons, choose to displace his own family history on to the Pyncheon family, with all the trouble that then ensued?

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Taylor, Alan, Thomas P. Slaughter, Gregory A. Waselkov, and Kathryn E. Holland Braund. "A Historical Fiction, Not a History: Slaughter's "Natures of John and William Bartram"." Taxon 46, no. 1 (February 1997): 195. http://dx.doi.org/10.2307/1224335.

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HAY, Funda. "Reflections of Medievalism in Utopian Fiction: William Morris's A Dream of John Ball." Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi 59, no. 1 (June 26, 2019): 559. http://dx.doi.org/10.33171/dtcfjournal.2019.59.1.29.

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Bir ütopya yazarı olan William Morris, genel olarak ideal dünya düzenini Ortaçağ döneminde geçen kurgularla yaratmıştır. Yazara göre, Ortaçağ, hiyerarşik yapısından dolayı dönemin örnek teşkil edecek bir topluma ev sahipliği yapmasına engel olan feodalizmin varlığından dolayı nispeten ideal bir toplum düzeni sunmaktadır. Ancak yine de köylülerin yaşamlarındaki uyum ve birlik ile zanaatkârlar ve/veya işçiler arasındaki iş dağılımı Morris'in ütopya algısının temelini oluşturmaktadır. Sonuç olarak feodalizmi yenmek için atılmış başarısız bir adım olsa da Morris 1381 yılında gerçekleştirilen Köylü Ayaklanması'nı dayanışmanın somut bir örneği olarak görmekteydi. Böylece insanların sosyalist ideolojiler çerçevesinde ideal bir toplum düzeni kurabileceğine inanmıştır. A Dream of John Ball (John Ball'un Rüyası) (1886) isimli romanında yazar, kendisini ayaklanmanın olduğu zamanlarda, on dördüncü yüzyılda bulan anlatıcının rüyasını anlatmaktadır. Söz konusu eserinde Morris Viktorya dönemi proletaryasına sanayicilere karşı ayaklanmak için dayanışmanın ne kadar önemli olduğunu göstermektedir. Bu bağlamda bu çalışmada Morris'in Köylü Ayaklanması'nı on dokuzuncu yüzyıl Britanya toplumunun dayanışmayı kuvvetlendirmeleri ve ideal bir dünya kurmalarını teşvik etmek amacıyla sosyalizm propagandası olarak nasıl kullandığı ele alınacaktır.

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Baranova, Jūratė, and Lilija Duoblienė. "Multimodal Strategies in Teaching Ethics with Films." Acta Paedagogica Vilnensia 43 (December 20, 2019): 71–84. http://dx.doi.org/10.15388/actpaed.43.5.

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Our contribution investigates the question of how it is possible to apply multimodal methods of education in teaching ethics with fiction films. From a more sceptical viewpoint, one could argue that this is not possible for several reasons. The article suggests some arguments for the justification of positive answer, describes the resent researches of the problem and presents some results of multimodal teaching experiment of teaching ethics with fiction films. The theoretical basis for these approaches are the pragmatic pedagogy of William James and John Dewey, and close to them – the model of teaching with films developed by William B. Russell, also the Deleuzian theory of cinema.

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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.

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GLEESON-WHITE, SARAH. "William Faulkner's Go Down, Moses: An American Frontier Narrative." Journal of American Studies 43, no. 3 (September 24, 2009): 389–405. http://dx.doi.org/10.1017/s0021875809990685.

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This essay seeks to extend Faulkner's imaginative writings beyond the temporal, spatial and aesthetic parameters of regionalism and modernism, according to which his work has been widely read. In an exemplary reading of his 1942 novel Go Down, Moses, I recontextualize Faulkner's fiction in a broader literary and discursive tradition of the US frontier narrative. To draw out the frontier meanings and tropes of Go Down, Moses, I examine closely those texts – Faulkner's and others' – that circulate around the major fiction and necessarily exert, I argue, interpretative pressure on it. These more secondary or contiguous texts include Faulkner's screenwriting for two of the great Hollywood Western directors, John Ford and Howard Hawks; his short stories and speeches; James Fenimore Cooper's Leatherstocking tales; and the political discourse that emerged in response to the democratic crisis of the 1930s. Certain tropes and narratives – to do with colonialism, for example – that have been submerged within the Faulknerian southern narrative of the plantation, begin to surface, to reset the narrative in relation to a national project. Reading Faulkner in this way constructs a critical frame that is both diachronic and transregionalist, and thus contributes to current debates articulated within the revisionary project of new southern studies about the ways in which we think and write anew about the post-South.

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Freeman, Thomas S., and Susan Royal. "Stranger than fiction in the archives: The controversial death of William Cowbridge in 1538." British Catholic History 32, no. 4 (September 11, 2015): 451–72. http://dx.doi.org/10.1017/bch.2015.16.

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AbstractThis essay considers the life, death, and afterlife of William Cowbridge a religious eccentric executed for heresy in 1538. It explores the significance of his religious beliefs, which became the source of a heated controversy between the Protestant martyrologist John Foxe and the Catholic polemicist Nicholas Harpsfield. The case casts light on a range of issues, including the dynamic between Protestant and Catholic controversialists, the use of the label of ‘madness’ in argument, and the value of archival documentation alongside the use of oral sources in Reformation-era polemic. It also yields insight into Thomas Cromwell’s authority over the English Church during the late 1530s, and highlights his position among Henrician evangelicals as a source of influence and aid. Finally, it offers a critique about interpretations of early modern belief and the designation of the label ‘Lollard’.

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Boudreau, Brigitte Suzanne. "John William Polidori. The Vampyre and Ernestus Berchtold; or, The Modern Oedipus. Eds. D.L. Macdonald and Kathleen Scherf. Peterborough, Ontario: Broadview Press, 2008. ISBN: 10-1551117452. Price: CDN$11.95 (US$ 15.95)." Romanticism and Victorianism on the Net, no. 51 (2008): 0. http://dx.doi.org/10.7202/019268ar.

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Hickman, Alan Forrest. ""Shadows Like to Thee": Modern Writers on the Character of William Shakespeare." International Human Sciences Review 2 (March 19, 2020): 1–8. http://dx.doi.org/10.37467/gka-humanrev.v2.2018.

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A swarm of books boasting William Shakespeare as a central character have hit the bookstands in recent years. The question is, why? In some books he is rather insipid, as if his brand is too hot to tamper with, and he is reduced to the status of a sacred cow. In other books he is too busy fighting for truth and justice to be bothered with taking up the quill, while in others, he is an opportunistic “Shake-scene” who has no qualms about “beautifying” himself with his contemporaries’ feathers. I propose to look at such works in the aggregate and determine the basic character traits that modern scribes attribute to our Will. My journey will take me primarily to novels (of the historical fiction school), but I shall be stopping along the way to consider works in other media, including a recent TV series, that also feature the Bard. Among the novelists included in my study are Patricia Finney (The James Enys Mysteries), Rory Clements (The John Shakespeare Mysteries), Benet Brandreth (The William Shakespeare Mysteries), and Leonard Tourney (The Mysteries of Shakespeare).

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Dissertations / Theses on the topic "Polidori, John William, in fiction"

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Thompson, Philip S. "John william polidori : a most unmeasured ambition /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Paolucci, Peter Leonard. "Re-reading the vampire from John Polidori to Anne Rice structures of impossibility among three narrative variations in the vampiric tradition /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56254.pdf.

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Taljaard, Frederik. "Imaginative unconcealment Heidegger's philosophy of aletheia and the truth of literary fiction /." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-03062006-200330.

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Tetschner, Ben. "The story of a writer : a study of the creation and maintenance of a writer's identity /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422970.

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Stephenson, William John. "Form, parody and history in 'The French lieutenant's woman' and 'A maggot' by John Fowles, and 'To the ends of the Earth: a sea trilogy' by William Golding." Thesis, University of Leeds, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249288.

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Waddell, Heather. "Reading with thought and effort : Philip Pullman's His Dark Materials trilogy, and its connections to the works of John Milton and William Blake /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/245.pdf.

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Laurie, Henri De Guise. "Transferentiality :|bmapping the margins of postmodern fiction / H. de G. Laurie." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9670.

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This thesis starts from the observation that, while it is common for commentators to divide postmodern fiction into two general fields – one experimental and anti-mimetic, the other cautiously mimetic, there remains a fairly significant field of postmodern texts that use largely mimetic approaches but represent worlds that are categorically distinct from actuality. This third group is even more pronounced if popular culture and “commercial” fiction, in particular sf and fantasy, are taken into account. Additionally, the third category has the interesting characteristic that the texts within this group very often generate unusual loyalty among its fans. Based on a renewed investigation of the main genre critics in postmodern fiction, the first chapter suggests a tripartite division of postmodern fiction, into formalist, metamimetic, and transreferetial texts. These are provisionally circumscribed by their reference worlds: formalist fiction attempts to derail its own capacity for presenting a world; metamimetic fiction presents mediated versions of worlds closely reminiscent of actuality; and transreferential fiction sets its narrative in worlds that are experienced as such, but are clearly distinct from actuality. If transreferential fiction deals with alternate worlds, it also very often relies on the reader’s immersion in the fictional world to provide unique, often subversive, fictional experiences. This process can be identified as the exploration of the fictional world, and it is very often guided so as to be experienced as a virtual reality of sorts. If transreferential texts are experienced as interactive in this sense, it is likely that they convey experiences and insights in ways different from either of the other two strands of postmodern fiction. In order to investigate the interactive experience provided by these texts, an extended conceptual and analytical set is proposed, rooted primarily in Ricoeurian hermeutics and possible-worlds theory. These two main theoretical approaches approximately correspond to the temporal and the spatial dimensions of texts, respectively. Much of the power of these texts rooted in the care they take to guide the reader through their fictional worlds and the experiences offered by the narrative, often at the hand of fictioninternal ‘guides’. These theoretical approaches are supplement by sf theoretical research and by Aleid Fokkema’s study of postmodern character. Chapters 3, 4, and 5 apply the theoretical toolset to three paradigmatic transreferential texts: sf New Wave author M John Harrison’s Viriconium sequence; Gibson’s Sprawl trilogy; and Jeff Noon’s Vurt and Pollen, texts that have much in common with cyberpunk but which make much more extensive use of formalist techniques. Each chapter has a slightly different main focus, matching the text in question, respectively: aesthetic parameters and worldcreation strategies of transreferential fiction; close “guidance” of the reader and extrapolation; and virtual reality and identity games. The final chapter presents the findings from the research conducted in the initial study. The findings stem from the central insight that transreferential texts deploy a powerful suit of mimetic strategies to maximise immersion, but simultaneously introduce a variety of interactive strategies. Transreferential fiction balances immersion against interactivity, often by selectively maximising the mimesis of some elements while allowing others to be presented through formalist strategies, which requires a reading mode that is simultaneously immersive and open to challenging propositions. A significant implication of this for critical studies – both literary and sf – is that the Barthesian formalist reading model is insufficient to deal with transreferential texts. Rather, texts like these demand a layered reading approach which facilitates immersion on a first reading and supplements it critically on a second. The final chapter further considers how widely and in what forms the themes and strategies found in the preceding chapters recur in other texts from the proposed transreferential supergenre, including sf, magic realist and limitpostmodernist texts.
Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2013.

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Syme, Neil. "Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21768.

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This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches.

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Lewis, Stephanie E. ""Congeries of pleasing horrors" : Fantasmagoriana and the writings of the Diodati Group /." 1995. http://collections.mun.ca/u?/theses,29862.

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Marques, Rafael Peres. "As Metamorfoses do Vampiro: Do Vampiro no Folclore a Lord Ruthven." Master's thesis, 2017. http://hdl.handle.net/10362/45867.

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A presente dissertação tem por objectivo um estudo do desenvolvimento do vam-piro enquanto arquétipo literário romântico (sobretudo na literatura inglesa). Realizou-se inicialmente uma abordagem pouco exaustiva às representações desta criatura no âmbito folclórico, que mais adiante se revelou fundamental na análise do corpus textual escolhi-do. São seguidamente abordados e comentados textos setecentistas acerca dos vampiros, bem como das suas supostas aparições em diversas regiões europeias, textos que se reve-lariam decisivos para o desenvolvimento desta figura na literatura e imaginário europeus nos séculos XVIII e XIX. Concluídas estas secções iniciais, procedeu-se ao estudo de um vasto corpus literário, constituído sobretudo por poemas alusivos a vampiros ou criaturas similares. Somente uma destas obras foi analisada aprofundadamente: a narrativa fantás-tica intitulada The Vampyre (1819) de John William Polidori. Será através da análise dos textos escolhidos que se poderá cumprir a mais importante finalidade do trabalho: desco-brir como os escritores românticos recriaram aquela que viria a figurar entre as mais cele-bradas figuras da ficção e imaginário fantásticos.
The present dissertation aims at an analysis of the development of the vampire as a literary and Romantic archetype (primarily in English literature). A fairly succinct app-roach was made to the various representations of this being in folklore, something which proved fundamental while analysing the literary corpus. Several eighteenth-century texts on vampires and their rumoured sightings in various European regions are here summari-sed and discussed, texts which would eventually prove essential for this creature’s evolu-tion within both eighteenth and nineteenth-century literatures and thought. Following the initial chapters is the analysis of a large corpus, which consists mostly of poems in regard to either a vampire or a similar being. One of these texts is analysed in depth, namely the supernatural tale entitled The Vampyre (1819) by the writer John William Polidori. Thus, through an analysis of the texts, the chief objective of this dissertation shall be accompli-shed: that is, to discover how Romantic writers rewrote that which would become one of the most well-known creatures in fantastic fiction and culture.

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Books on the topic "Polidori, John William, in fiction"

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Polidori, John William. The vampyre ; and, Ernestus Berchtold, or, The modern Oedipus: Collected fiction of John William Polidori. Toronto: University of Toronto Press, 1994.

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Ackroyd, Peter. The casebook of Victor Frankenstein. Waterville, Me: Thorndike Press, 2010.

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Ackroyd, Peter. The Casebook of Victor Frankenstein. New York: Knopf Doubleday Publishing Group, 2009.

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Ackroyd, Peter. The casebook of Victor Frankenstein. New York: Nan A. Talese, 2009.

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Brown, B. Burnett. When the guardians dance: Conversations, reflections, recollections, and remembrances of John William Barry. [Philadelphia]: Xlibris Corp., 2003.

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Shakespeare, William. King John. Ware: Wordsworth Classics, 1996.

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Shakespeare, William. King John. New York: Penguin USA, Inc., 2009.

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Shakespeare, William. King John. Cambridge [England]: Cambridge University Press, 1990.

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Shakespeare, William. King John. London: Routledge, 1991.

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Shakespeare, William. King John. San Diego, CA: ICON Classics, 2005.

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Book chapters on the topic "Polidori, John William, in fiction"

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Hanson, Ingrid. "The Living Past and the Fellowship of Sacrificial Violence in William Morris’s A Dream of John Ball." In Reading Historical Fiction, 204–19. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291547_13.

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McEwan, Neil. "John Fowles’s The French Lieutenant’s Woman and William Golding’s Rites of Passage." In Perspective in British Historical Fiction Today, 159–76. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08261-2_7.

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Ashley, Mike. "The First Revolution: Cyberpunk Days." In Science Fiction Rebels, 18–91. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382608.003.0002.

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Charts the emergence of cyberpunk, especially through the pages of OMNI, and considers its leading authors, including William Gibson, Pat Cadigan, Bruce Sterling and John Shirley. It also considers the growth of ASIMOV’S SF MAGAZINE under the editorship of Shawna McCarthy who strove to publish more challenging and daring stories. Between these two magazines science fiction began to undergo a new revolution. Even ANALOG, the most conventional of the sf magazines, saw changes introducing more challenging high-tech stories exploring nanotechnology and the technological singularity.

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Hadfield, Andrew. "‘The perfect glass of state’: English Fiction from William Baldwin to John Barclay, 1553–1625." In Literature, Travel, and Colonial Writing in the English Renaissance 1545–1625, 134–99. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780199233656.003.0004.

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Cannadine, David. "John Harold Plumb, 1911–2001." In Proceedings of the British Academy, Volume 124. Biographical Memoirs of Fellows, III. British Academy, 2005. http://dx.doi.org/10.5871/bacad/9780197263204.003.0015.

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Sir John Plumb was a commanding figure, both within academe and also far beyond. He was as much read in the United States as in the United Kingdom; he was a great enabler, patron, fixer and entrepreneur; he belonged to the smart social set both in Mayfair and Manhattan; a race horse was named after him in England and the stars and the stripes were once flown above the US Capitol in his honour; and he appeared, thinly disguised but inadequately depicted, in the fiction of Angus Wilson, William Cooper and C. P. Snow. Yet one important aspect of Plumb's career has been repeatedly ignored and overlooked: for while his life was an unusually long one, his productive period as a significant historian was surprisingly, almost indecently, brief.

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Ayers, David. "Fiction and Story of the Russian Revolution." In Modernism, Internationalism and the Russian Revolution, 221–50. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748647330.003.0009.

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This chapter gives an account of a selection of the earliest fiction and memoirs to come out of the British encounter with the Russian Revolution, including work by Douglas Goldring, Harold Williams, William Gerhardie, Hugh Walpole, W.L. Blennerhassett, Ernest John Harrison, and Oliver Baldwin. Of these, it is Gerhardie who made the most of his experience as a British army officer and of his polyglot talents in forming his novel Futility, while others veer between adventure, conspiracy, propaganda and fantasy.

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"Genre fiction: Anthony Burgess, William Golding, Robert Nye, Peter Vansittart, John Banville, J. G. Ballard, Michael Moorcock, John Le Carré, P. D. James, Ruth Rendell." In The Novel Today, 45–51. Routledge, 2017. http://dx.doi.org/10.4324/9781315505497-10.

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Parry, Glyn, and Cathryn Enis. "The Trial of John Somerville and Edward Arden." In Shakespeare Before Shakespeare, 118–47. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862918.003.0005.

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The first detailed narrative of how the Dudleys set out to destroy Edward Arden by exploiting the mental problems of his son-in-law John Somerville, who lived just outside Stratford, but who had quarrelled with his wife, Margaret Arden Somerville, and her father, over financial differences. Using intermediaries the Dudleys provoked Somerville into riding towards London, armed with a pistol to assassinate Queen Elizabeth, and arranged for his arrest and interrogation. They then concocted evidence implicating Edward Arden, both to confirm their dominance over Warwickshire and to establish that Somerville was key to a vast international Catholic conspiracy against Elizabeth, a story that contained sufficient truth to enable a more radical Protestant agenda to be followed at Court and in the Privy Council, against Archbishop Whitgift’s and Sir Christopher Hatton’s conservative policies. The treason trial consistently broke with established procedures in rushing Arden, Somerville, and their families to condemnation, but the regime expended great efforts in broadcasting their ‘treason’ against the conflicting evidence known in Stratford and Warwickshire, especially that Arden had been in London when he was allegedly conspiring with Somerville just outside Stratford. The treasonous fiction also aimed to implicate Hatton in the treason, but though this failed, shockingly for contemporary society, several women from both families were condemned, and several more imprisoned in the Tower for some years, another example of the exercise of raw power by the Elizabethan regime in controlling collective memory that were very unlikely to have escaped William Shakespeare’s notice.

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Vallance, Edward. "‘The insane enthusiasm of the time’: remembering the regicides in eighteenth-and nineteenth-century Britain and North America." In Radical Voices, Radical Ways. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781526106193.003.0011.

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Edward Vallance studies the representation of three English regicides, John Dixwell, William Goffe and Edward Whalley, in early nineteenth-century British fiction via the treatment made of them in late eighteenth-century histories and biographies. Vallance raises the question of what provoked this flurry of literary interest in the three regicides and suggests that the main explanation is to be found in the fit between the story of Dixwell, Goffe and Whalley and the Romantic sensibility. Their story seemed to combine elements traditionally associated with Romantic aesthetic. Vallance then explores the impact of historians’ accounts of the three regicides on the Romantic imagination. Sympathizing with the fate of the radicals did not entail endorsing either their political or religious views, or the act of regicide itself. But by presenting the regicide as an act of madness, writers of fiction ultimately diminished its political threat.

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Sanchez, Melissa E. "The Color of Monogamy." In Queer Faith, 69–112. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479871872.003.0003.

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This chapter examines how an ideal of monogamy helps sustain intersecting gendered and racial hierarchies. Woman of color feminism has long censured the association of female sexual respectability with whiteness and social privilege, but this work generally dates the advent of that association to the establishment of modern slavery and colonialism. William Shakespeare’s sonnets, however, register the development of a fiction of somatic, heritable whiteness as a correlate of respectable sexuality, one disseminated in classical discourses celebrating male friendship and in imperial allegories of sexual conquest. Yet in their depiction of a three-way affair between the poet, a “fair” young man, and a “black” mistress, the sonnets conspicuously fail to cordon off rational and mutual “fair” male friendship from the humiliating enslavement of “black” female appetite. Instead, drawing on the Pauline theory of sin and grace that influenced thinkers from Martin Luther and John Calvin to Sigmund Freud and Jacques Lacan, the sonnets dissolve the oppositions ostensibly embodied by the poet’s “two loves”—agency and passivity, mastery and submission, fidelity and promiscuity, purity and pollution—to imagine intimacies beyond the couple.

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