Richard Dellamora – författare

Late-20th-century critical and historical work on the late-Victorian period has furnished a vocabulary for discussing gender and sexuality. These popular terms include categories such as homo/hetero, patriarchal/feminist, and masculine/effeminate. This collection exploits this framework - while refining and resisting it in places - to show how certain Victorians imagined difference in ways that continue to challenge in the late 1990s. One essay, for example, traces the remarkable feminist appropriation of male-identified fields of study, such as classical philology. Others address the validation of male bodies as objects of desire in writing, painting, and emergent modernist choreography. The writings shed light on the diverse interests served by a range of cultural practitioners and on the complex ways in which the late Victorians invented themselves as modern subjects.

-- Christopher Morris, 19th Century Music

Beginning with Somerset Maugham’s innovative, sexually dissident South Seas novel and tales and Alfred Hitchcock’s gay-inflected revisiting of the Jack the Ripper sensation in silent film, this book considers the continuing presence of the past in future-oriented work of the 1930s and the Second World War by Sylvia Townsend Warner, Virginia Woolf, George Orwell, and the playwright and novelist, Patrick Hamilton. The final three chapters carry the discussion to the present in analyses of works by lesbian, postcolonial, and gay authors such as Sarah Waters, Amitav Ghosh, and Alan Hollinghurst. Focusing on questions about temporality and changes in gender and sexuality, especially gay and lesbian, straight and queer, following the rejection of the Victorian patriarchal marriage model, this study examines the continuing influence of late Victorian Aestheticist and Decadent culture in Modernist writing and its permutations in England.

Beginning with Somerset Maugham’s innovative, sexually dissident South Seas novel and tales and Alfred Hitchcock’s gay-inflected revisiting of the Jack the Ripper sensation in silent film, this book considers the continuing presence of the past in future-oriented work of the 1930s and the Second World War by Sylvia Townsend Warner, Virginia Woolf, George Orwell, and the playwright and novelist, Patrick Hamilton. The final three chapters carry the discussion to the present in analyses of works by lesbian, postcolonial, and gay authors such as Sarah Waters, Amitav Ghosh, and Alan Hollinghurst. Focusing on questions about temporality and changes in gender and sexuality, especially gay and lesbian, straight and queer, following the rejection of the Victorian patriarchal marriage model, this study examines the continuing influence of late Victorian Aestheticist and Decadent culture in Modernist writing and its permutations in England.

Beginning with Tennyson's In Memoriam and continuing by way of Hopkins and Swinburne to the novels of Oscar Wilde and Thomas Hardy, Richard Dellamora draws on journals, letters, censored texts, and pornography to examine the cultural construction of masculinity in Victorian literature. Central to the struggle over the meaning of masculine desire was the institutional politics of Oxford University, where Benjamin Jowett, Matthew Arnold, John Ruskin, and Walter Pater were principal players. As a young man in the 1860s, Pater, the art historian, essayist, and novelist, theorized a place for desire between men in cultural formation and critique. Later, in a climate of growing intolerance, he continued to affirm male-male desire but with increasing attention to the social functions of homophobia. Dellamora shows that discontent with conventional gender roles animated efforts to reimagine the possibilities of masculine existence. Originally published in 1990. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

From accounts of the Holocaust, to representations of AIDS, to predictions of environmental disaster; from Hal Lindsey's fundamentalist 1970s bestseller The Late Great Planet Earth, to Francis Fukuyama's The End of History and the Last Man in 1992, the sense of apocalypse is very much with us. In Postmodern Apocalypse, Richard Dellamora and his contributors examine apocalypse in works by late twentieth-century writers, filmmakers, and critics.

What is the connection between citizenship and friendship in Victorian fiction? Why do Victorian writers use the portrayal of relations between mentor and protÉgÉ as a way of meditating on the possibilities of democratic governance? In Friendship's Bonds, Richard Dellamora revisits the classical and Victorian dream that a just society would be one governed by friends. In the actual struggle over who should or should not be eligible for the rights of citizenship, however, the ideal of fraternity was troubled by anxieties about the commingling of populations and the possible conversion of male intimacy into sexual anarchy.Focusing on the writings of Benjamin Disraeli as well as those of his leading political rival, William Gladstone, Dellamora considers how sodomitic intimations inflect debates on the enfranchisement of Jews as well as artisans, women, and the Irish during the period. Examining works as various as Karl Marx's essay on the Jewish Question, Victorian Bible commentaries, and novels by Dickens, George Eliot, Trollope, and Henry James, Dellamora further argues that the novel and other creative arts, such as portraiture and the theater, offered important sites for evoking and shaping the Victorians' imagination and experience of democratic possibilities.Systematically bringing together discourses on queer identities in Victorian England, Jewish identities in nineteenth-century literary and political culture, and the ways these powerful forms of otherness intersect, Friendship's Bonds offers an intriguing analysis of how the dream of a perfect sympathy between friends continually challenged Victorians' capacity to imagine into existence a world not of strangers or enemies but of fellow citizens.

The Well of Loneliness is probably the most famous lesbian novel ever written, and certainly the most widely read. It contains no explicit sex scenes, yet in 1928, the year in which the novel was published, it was deemed obscene in a British court of law for its defense of sexual inversion and was forbidden for sale or import into England. Its author, Radclyffe Hall, was already well-known as a writer and West End celebrity, but the fame and notoriety of that one book has all but eclipsed a literary output of some half-dozen other novels and several volumes of poetry.In Radclyffe Hall: A Life in the Writing Richard Dellamora offers the first full look at the entire range of Hall's published and unpublished works of fiction, poetry, and autobiography and reads through them to demonstrate how she continually played with the details of her own life to help fashion her own identity as well as to bring into existence a public lesbian culture. Along the way, Dellamora revises many of the truisms about Hall that had their origins in the memoirs of her long-term partner, Una Troubridge, and that have found an afterlife in the writings of Hall's biographers.In detailing Hall's explorations of the self, Dellamora is the first seriously to consider their contexts in Freudian psychoanalysis as understood in England in the 1920s. As important, he uncovers Hall's involvement with other modes of speculative psychology, including Spiritualism, Theosophy, and an eclectic brand of Christian and Buddhist mysticism. Dellamora's Hall is a woman of complex accommodations, able to reconcile her marriage to Troubridge with her passionate affairs with other women, and her experimental approach to gender and sexuality with her conservative politics and Catholicism. She is, above all, a thinker continually inventive about the connections between selfhood and desire, a figure who has much to contribute to our own efforts to understand transgendered and transsexual existence today.