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TOUCHING THE PAST TOUCHING THE PAST
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THE INSISTENCE OF THE PAST: ELEGY, TYPOLOGY, AND QUEER HISTORY THE INSISTENCE OF THE PAST: ELEGY, TYPOLOGY, AND QUEER HISTORY
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REFUSING REPRODUCTION: THE LINEAL AMBIVALENCE OF LANYER’S TYPOLOGY REFUSING REPRODUCTION: THE LINEAL AMBIVALENCE OF LANYER’S TYPOLOGY
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EMBRACING MARRIAGE, REFUSING THE COUPLE EMBRACING MARRIAGE, REFUSING THE COUPLE
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LANYER’S PROMISCUOUS TYPOLOGY—REACHING ACROSS TIME LANYER’S PROMISCUOUS TYPOLOGY—REACHING ACROSS TIME
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REFUSING REPLACEMENT REFUSING REPLACEMENT
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CODA: ‘A MEMORY, A DREAM, A FEELING OF HER’—EMILIA ON STAGE CODA: ‘A MEMORY, A DREAM, A FEELING OF HER’—EMILIA ON STAGE
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FURTHER READING FURTHER READING
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48 Touches Across Time: Queer Feminism, Early Modern Studies, and Aemilia Lanyer’s ‘Rich Chains’
Get accessErin Murphy is Associate Professor in the Department of English and the Women’s, Gender, and Sexuality Studies Program at Boston University. She has published Familial Forms: Politics and Genealogy in Seventeenth-Century English Literature (University of Delaware Press, 2011), and authored articles on John Milton, Lucy Hutchinson, and Mary Astell. She co-edited Milton Now: Alternative Approaches and Contexts (Palgrave, 2014) with Catharine Gray, as well as a special issue of Criticism on the work of Eve Kosofsky Sedgwick with James Keith Vincent. She is currently working on two book projects, Wartimes: Seventeenth-Century Women’s Writing and its Afterlives and Rude Reading: Gender, Race, Sexuality, and the Work of John Milton. As part of Northeastern University’s NEH-supported ‘Intertextual Networks’ project, she is currently developing a digital exhibit on biblical marginalia in Lucy Hutchinson’s Order and Disorder with Chelsea Clark. The exhibit will be published online in ‘Women Writers in Context’ as part of the Women Writers Project. With Sarah Wall-Randall, she co-leads the interdisciplinary seminar on Women and Culture in the Early Modern World at Harvard’s Mahindra Humanities Center.
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Published:19 December 2022
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Abstract
Through an analysis of the work of Aemilia Lanyer, this chapter illuminates how women’s writing helps us reconsider the possibilities of queer feminism for early modern studies, especially a queer feminism that does not unintentionally perpetuate its own exclusions and hierarchies of race and gender. The chapter concludes with a brief meditation on Morgan Lloyd Malcolm’s 2018 play Emilia, originally performed at the Globe Theatre and then in London’s West End, to consider this popular mode of what Carolyn Dinshaw has called ‘a touch across time’. The complex dynamics of identification, erotics, and appropriation that mark Lanyer’s use of biblical typology, as well as the way she has been taken up recently in the popular imagination, will show how early modern studies can contribute to the development of queer feminist analyses that attend to the mutually constitutive forces of gender, race, sexuality, religion, and status.
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