The book explores the changing ways in which male-male sex and love have been perceived and experienced from the late Anglo-Saxon period to the present. Celebrated figures, such as Richard Lionheart, whose love for Philip Augustus of France was so well-documented, Oscar Wilde, subject of the most explosive scandal of the Victorian period, and Derek Jarman, the great artist and chronicler of the age of AIDS, are examined alongside little-known figures: Eleanor/John Rykener, a cross-dresser in Chaucer's England, the mollies of eighteenth-century London, the habituants of underground gay bars and cafes in 1930s Manchester and Brighton, and the newly-confident gays of contemporary Britain, who marry, adopt children and command the increasingly powerful 'pink pound'. Drawing on a fabulous wealth of research, the authors - each an expert in his field - have worked closely together to deliver a powerful, highly-readable and eye-opening history of love and desire between men in Britain. At a time when classic British crime fiction is enjoying greater popularity than ever (and television incarnations of such Brit classics as Sherlock Holmes and Jane Marple proliferate, along with more recent coppers such as the tough Inspector Rebus), innovative forms and styles are taking crime fiction in new directions. Writers of science fiction tailoring their cloth to a more profitable discipline have powered a growth in high-tech crime thrillers; women writers have tackled issues of violence and sexuality in breathtakingly direct ways. The encyclopedia covers all new developments, as well as examining traditional genres, such as espionage, historical crime, clerical crime, crime in academe, noir (and tartnoir), literary crime and true crime. The result is a synthesis of the scholarly and the lively - making this the perfect guide for those wanting reliable information or looking for stimulating analysis or interested in tips for great novels to put on their reading lists.

Essays examining both the theory and practice of medieval translation. Engaging and informative to read, challenging in its assertions, and provocative in the best way, inviting the reader to sift, correlate and reflect on the broader applicability of points made in reference to a specific text orexchange. Professor Carolyne P. Collette, Mount Holyoke College. Medieval notions of translatio raise issues that have since been debated in contemporary translation studies concerning the translator's role asinterpreter or author; the ability of translation to reinforce or unsettle linguistic or political dominance; and translation's capacity for establishing cultural contact, or participating in cultural appropriation or effacement.This collection puts these ethical and political issues centre stage, asking whether questions currently being posed by theorists of translation need rethinking or revising when brought into dialogue with medieval examples. Contributors explore translation - as a practice, a necessity, an impossibility and a multi-media form - through multiple perspectives on language, theory, dissemination and cultural transmission. Exploring texts, authors, languages and genres not often brought together in a single volume, individual essays focus on topics such as the politics of multilingualism, the role of translation in conflict situations, the translator's invisibility, hospitality, untranslatability and the limits of translation as a category. EMMA CAMPBELL is Associate Professor in French at the University of Warwick; ROBERT MILLS is Lecturer in History of Art at University College London. Contributors: William Burgwinkle, Ardis Butterfield, Emma Campbell, Marilynn Desmond, Simon Gaunt, Jane Gilbert, Miranda Griffin, Noah D. Guynn, Catherine Leglu, Robert Mills, Zrinka Stahuljak, Luke Sunderland

First exploration of Jarman's engagement with the medieval, revealing its importance to his work. FINALIST IN THE HISTORIANS OF BRITISH ART BOOK AWARDS 2020 The artist and filmmaker Derek Jarman (1942-1994) had a lifelong appreciation of medieval culture. But with the possible exception of Edward II, Jarman's films have not been identified to date as making a major contribution to the depiction of the Middle Ages in cinema. This book is the first to uncover a rich seam of medievalism in Jarman's art. Taking in major features such as Caravaggio, The Garden and The Last of England, as well as some of the unrealised screenplays and short experimental films, the book proposes an expanded definition of medieval film that includes not just worksset in or about the Middle Ages, but also projects inspired more broadly by the period. It considers Jarman's engagement with Anglo-Saxon poetry (notably The Wanderer); with works by fourteenth-century poets such as Chaucer, Dante and Langland; with saints and mystics from Joan of Arc to Julian of Norwich; and with numerous paintings, buildings and objects from this so-called "middle" time. Organised around several key themes - periodisation,anachronism, ruins and wandering - the book also asks what happens when (with Jarman, but also more broadly) we think the categories "medieval" and "modern" together. As such, it will be of interest to film scholars, art historians and medievalists of all stripes who wish to rattle the temporal cages of their fields. ROBERT MILLS is Professor of Medieval Studies at University College London.

Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of the image from what it purports to represent; abstraction as a vehicle for signification; and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological.