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By Allan Johnson

Alan Hollinghurst and the power of effect proposes a awesome technique for examining the affects that interlace twentieth-century homosexual British writers. targeting the function of the textual snapshot in literary impression, this booklet strikes towards a brand new knowing of the interpenetration of literary and visible tradition within the 20th century.

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Extra resources for Alan Hollinghurst and the Vitality of Influence

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His sins, if there are such things as sins, are borrowed. 46 For Bloom, passages such as this reflect the anxiety that created and perpetuated Wilde’s refusal to wrestle with the dead. However, the trope of influence within the narrative of Dorian Gray brings interpretative difficulties that remain virtually unresolved. Dorian Gray’s own demise appears, at first, to offer a confident report on the relationship between influence and aesthetics: yes, all influence is immoral, and, yes, all aesthetic taste is based on influential persuasion, so therefore all aesthetic taste is immoral.

In contrast to the proposition that ‘queer time’ renders a lifecycle different from the timelines of maturation and reproduction, recent critics have proposed that queerness, itself, is a product of timelines running askew: the application of ‘straight time’ to queer culture creates a conspicuous dissonance, from which emerges ‘queerness’ as a practicable concept. 62 This basic premise – and the productivity which it promises – has been developed variously. Lee Edelman views this application of straight time to queer experience as a product of the continual reinforcement of the ‘Child’ as the only hope of the future.

Akenaten’s successor is thus both his son and his brother, and the essential complication comes when Jarman then depicts the marriage between Akenaten and Smenkhare, the older of the twins. The marriage is literal, as is the consummation, and Smenkhare is elevated from royal prince to Queen of all Egypt. In a scene marked by a nearly parodic bridal-veiling of the young man and a profound visual and textual insistence on the correlation of the sun and male beauty, the father–son marriage is consummated: One by one the semi-transparent veils of SMENKHARE are removed.

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