Titlebook: Representing Difference in the Medieval and Modern Orientalist Romance; Amy Burge Book 20161st edition The Editor(s) (if applicable) and T

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運動性

https://doi.org/10.1007/978-1-137-59356-6Britain; culture; fiction; gender; Great Britain; history of literature; literature; Middle Ages; social sci

Flu表流動

978-1-349-88789-7The Editor(s) (if applicable) and The Author(s) 2016

脫毛

食道

Geographies of Fantasy: Exploring the Romance East,he romance East is a fantasy. It works as exotic synesthesia, blending sensations of sound, sight, and smell and persistently deploying stock Orientalist motifs. Consider, for example, the following passage from .:

BARK

Romance in the East: An Introduction,ce. For hundreds of years, Western and European popular culture has been fascinated and appalled, in equal measure, by the apparent religious, racial, cultural, social, and political alterity of the Orient. We are locked in a double bind of desire and difference. This contradiction finds particular

seroma

Saracens and Sheikhs: Romance in Context,rnacular, these popular texts circulated widely and enjoyed a diverse audience, composed of both elite and lower status readers and listeners. Composed, on the whole, in verse, Middle English romances flourished in the years 1350–1500 and feature stock characters, motifs, and storylines, including r

灰心喪氣

,“For You are a Man and She is a Maid”: Gender and the East,n which the romance genre is predicated: it is the opposition of normative gender identities of masculinity and femininity that facilitates the romantic relationship. However, these gender identities become less certain, less clearly defined when they are collocated with Eastern ethnic or religious

過分

,“Neither Fish Nor Fowl”: Representing Difference, Fabricating Sameness,ntioned, otherness is figured differently in Middle English romance—where religion is the primary marker of variation— and modern sheikh romance—where religion is subsumed into culture and ethnicity stands as the main difference between East and West. Yet, how is such difference represented? Indeed,

諷刺