Titlebook: Queer Blake; Helen P. Bruder,Tristanne Connolly (Associate Prof Book 2010 Palgrave Macmillan, a division of Macmillan Publishers Limited 2

極大痛苦

可卡

狂亂

Diaphragm

膠水

,‘Real Acting’: ‘Felpham Billy’ and Grayson Perry Try It On,; but before consid- ering the eager passion some heterosexual male artists have for absorbing and performing femininities, it’s vital to explore some suggestive aspects of the unique years which may well have animated the ‘Real Acting’ I perceive within ‘Felpham Billy [’s]’ poems (E764, 504).

并排上下

,‘Woes & … sighs’: Fantasies of Slavery in ,cribes as ‘bound / In spells of law to one she loathes’ (5:21-2, E49)— and branded black slaves, who are ‘stampt with [the slave-holder’s] signet’ and whose ‘daughters worship terrors and obey the violent’ (1:21-3, E46).

lacrimal-gland

The Body of the Blasphemer,like his contemporaries, and is most clearly dependent on specific visual precedents (pre-eminently the work of Henry Fuseli).. His work in these media has been of diminishing interest to a tradition of scholarship largely taken up with the effort to demonstrate Blake’s exceptionalism.

真實(shí)的人

別名

Conflict

,‘The lineaments of… desire’: Blake’s , and Romantic Literary Treatments of Rape,aluation of the poem. I argue that female sexuality whether autoerotic or lesbian, is represented positively in this early work. It is not, as suggested by Christopher Hobson (2000, 29–30), just as a . or anticipation of heterosexual behaviour, though Oothoon’s primary sexual orientation is and continues to be heterosexual.