Secret Selves: Confession and Same-sex Desire in Victorian AutobiographyUniv of North Carolina Press, 1998 - 270 من الصفحات Focusing on the representation of same-sex desire in Victorian autobiographical writing, Oliver Buckton offers significant new readings of works by some of the most influential figures in late-nineteenth-century literature and culture. Combining original |
المحتوى
An Unnatural State Secrecy and Perversion in John Henry Newmans Apologia pro Vita Sua | 21 |
The Secret Which I Carried Desire and Displacement in John Addington Symondss Memoirs | 60 |
Defacing Oscar Wilde | 107 |
A Double Nature The Hidden Agenda of Edward Carpenters My Days and Dreams | 161 |
Strange Desires Sexual Reconstruction in E M Forsters Secret Fictions | 206 |
NOTES INTRODUCTION | 219 |
WORKS CITED | 251 |
| 261 | |
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
aesthetic Algy Anglo-Catholicism Apologia argues attack autobiography biography Bosie Bosie's Catholicism celibacy Charles Kingsley confession confessional construction context critical cultural Days and Dreams Dellamora described disclosure discourse displaced Dollimore Dorian Gray Douglas dramatic E. M. Forster Earnest Edelman Edward Carpenter effeminacy episode erotic example fact feminine fiction Forster friends gender Greek Gribsby Harrow heterosexual homosexual Hukin Ibid ideal influence Intermediate Sex John Addington Symonds John Henry Newman Kingsley Kingsley's Koestenbaum literary Lord Alfred Douglas male manliness masculine Maurice Memoirs Merrill Millthorpe moral narrative nature Newman novel O'Brien Oscar Wilde Oxford Oxford movement passion perversion play poem political prison letter Profundis published reader reading relationship religious reveal rhetorical role Rowbotham and Weeks same-sex desire scandal secrecy secret sexual desire Sexual Inversion significance sion social Socialist specific suggests Symonds Symonds's textual tion transgressive trials Vaughan Victorian Whitman Wilde's working-class writing wrote
مقاطع مشهورة
الصفحة 12 - We assume that life produces the autobiography as an act produces its consequences, but can we not suggest, with equal justice, that the autobiographical project may itself produce and determine the life and that whatever the writer does is in fact governed by the technical demands of self-portraiture and thus determined, in all its aspects, by the resources of his medium?