{"title":"Clemson University Digital Press","description":null,"products":[{"product_id":"9781638040583","title":"Imagining Musical Pasts","description":"\u003cp\u003e\u003cstrong\u003eAn Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eImagining Musical Pasts\u003c\/em\u003e explores the complicated archive of sources, interpretations, and people present in queer writings on opera and symphonic music from ca. 1880–1935. It focuses primarily on the work of three turn-of-the-twentieth-century music scholars—philosopher and horror writer Vernon Lee (pseud. Violet Paget), biographer and program note annotator Rosa Newmarch, and critic and amateur sexologist Edward Prime-Stevenson. Each of the three major sections of the book is organized according to the authorial personae each author adopted in their creative and scholarly work. These categories reflect the particular intellectual commitments of each figure: Lee’s fascination with the failure of written documentation to fully capture the “ghosts” of past musical experience, Newmarch’s reliance on documentary evidence to reveal some of her subject’s secrets and her stated discomfort with the role of the biographer, and Prime-Stevenson’s nostalgic use of repetition, revision, and dedication to “return” to the 1890s decades after the fact. By reframing these ways of knowing as central to each scholar’s individual approach to constructing and interpreting musical and sexual knowledge, the book draws attention to aspects of their work previously neglected or considered only in isolation.\u003c\/p\u003e\u003cp\u003eIdentifying the coded references, careful nuances, and intentional and accidental gaps that make ambiguity an inherent feature of these sources requires an awareness of multiple approaches to music history beyond biography and historiography, intersecting as it does with literary scholarship, art history, the histories of science and medicine, and sound studies. 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Friendships and other intimate relationships in Lawrence’s fiction, for instance, often take on a pedagogical shape or texture (one person playing the student; the other, the teacher) while Woolf’s literary criticism models a novel approach to taste-training that prioritizes the individual freedom of common readers (who must learn to attend to books that give them pleasure). 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Teasing out the parodic sensibility of writers including Virginia Woolf, Elizabeth Bowen, Sam Selvon, Dorothy Sayers, Stella Gibbons, and Zadie Smith, \u003ci\u003eUnexpected Pleasures\u003c\/i\u003e offers an innovative reading of works that seem to excessively obey the rules of genre. By oversupplying the pleasurable sense of knowledge and the illusion of predictive power that genre confers, these works play with readerly expectation in order to expose and queer a broader set of assumptions \u003cbr\u003eabout desire, resolution, and futurity. \u003ci\u003eUnexpected Pleasures\u003c\/i\u003e expands on a burgeoning critical interest in genre as an interpretive tool, and further diversifies the archive and methodology of queer critique. Gathering a surprising group of writers together, it reveals new throughlines between middlebrow and highbrow, and among modernist, mid-century, and contemporary literature. 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Such projects, both creative and critical, moreover, simultaneously critique the nature of texts, textuality and performativity—such interventions, engagements and reengagements acutely central to Burroughs’s creative enterprise.\u003c\/p\u003e\u003cp\u003eBurroughs’s work, furthermore, at root, in all of its media and the variety of its voices, is bitingly, acerbically, ruthlessly comic and even satiric, its techniques repetitive, recombinant and performative from the first, his themes or targets social control (racial, sexual, chemical) and resistance to it, his mode of expression neither the novel \u003cem\u003eper se\u003c\/em\u003e, nor even the book as a discrete unit, but the cut-up, the “routine,” the fragment and their performance as writing and its extension through bodily expression. 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