A Postcard from Lovers’ Leap – Pride, Prejudice and the Picturesque, the story of a Peak District Legend

Abstract Although locations named Lover’s Leap dating back hundreds of years are to be found around the world, academic research investigating the origins and development of such sites; the myths, legends and hauntings associated with them; and the material culture they produce is relatively limited, especially for sites within the United Kingdom. This paper presents an in-depth analysis of one such site, Lover’s Leap in Ashwood Dale just south of Buxton, Derbyshire, exploring the complex interplay of folklore, superstition, legend, and landscape, alongside notions of the picturesque and sublime associated with this site. This mix of folklore, landscape and the sublime is shown to have been instrumental in the creation of a Peak District beauty spot which played a previously overlooked role in the establishment of Buxton as a tourist destination in the 18th century. For over 150 years, Lover’s Leap and the legend attached to this picturesque limestone gorge at whose entrance the precipice stands were praised by travel writers, described in florid terms by poets, and sketched, painted and photographed by artists, revealing the important role played by folklore in providing a slice of the sublime just a short walk from the centre of this Peak District town. Please note that 'Lover’s Leap’ and ‘Lovers Leap’ are used interchangeably throughout the source material, so Lover’s Leap will be used for consistency here.

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Anthropocene Aesthetic Shifts in Post-Apocalyptic Literature: An Analysis of Waste and the Sublime in Maureen F. McHugh’s After the Apocalypse

This article explores ‘apocalyptic waste’ in seven short stories from Maureen F. McHugh’s 2011 collection After the Apocalypse. McHugh (1959-) is a contemporary U.S. sci-fi and fantasy writer, whose fiction depict dystopian scenarios as varied as a China-dominated America, a sexist futuristic Morocco, and pandemics. Building on recent developments in theories of the sublime and waste aesthetics, this essay examines deployments of the notions and vocabularies of waste and the sublime in McHugh’s narratives as rhetorical strategies for representing the characters’ encounters with non-human others (zombies, human-like dolls, AI, and bio-batteries), or their experiences of traumatic events (bombings, family trauma) echoing our Anthropocene/Capitalocene moment. Coupled with its attention to the characters’ sensory perception and affects, this article’s analyses show that post-apocalyptic fiction is a fruitful site for exploring the shifting conceptual and aesthetic destinies of waste and the sublime and their relevance as critical concepts to the environmental humanities.

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