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Byrne Katherine
Taddeo Julie Anne
, and
Leggott James

disfigurement in Home Fires (2015–2016); medical experimentation and monstrosity in Penny Dreadful (2014–2016) and Frankenstein Chronicles (2015–2017); nursing as a vehicle of female emancipation in The Crimson Field (2014) and Morocco: Love in Times of War (2017); and all of the above and many more in Downton Abbey (2010–2015), whose most famous plotlines, from Lady Sybil’s death in childbirth to the war

in Diagnosing history
Peter Hutchings

A barred view Fisher’s horror work at Hammer from 1956 onwards finally bestowed upon his career a stability that up until then had generally been lacking. Before then – from Colonel Bogey , his 1947 directorial debut, through to his first horror film, The Curse of Frankenstein (produced in 1956, released in 1957) – Fisher had worked for a variety of different companies at different

in Terence Fisher
Open Access (free)
Theatre and the politics of engagement

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

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Fred Botting

distinguishable from decaying, rank, worm-ridden death. Orlan’s horror, for all its investments in deformity and monstrosity, moves beyond familiar modes of Gothic representation, just as her project aims at interrogating and supplanting the norms of beauty established by the history of art. Her work, none the less, has made reference to the canon in her ‘Official Portrait with Bride of Frankenstein Wig’ (1990

in Limits of horror
Counterfactual Romanticism and the aesthetics of contingency
Damian Walford Davies

both the way that contingency operates on an intensely personal scale as well as the slow movements of geological time. It is within these incommensurable yet overlapping time schemes that Mary Wollstonecraft Shelley redeploys ‘Mutability’ – which had first appeared in the Alastor collection of 1816 – at a key moment in Frankenstein. Just before he confronts his ‘hideous progeny’ on the Alpine heights of Chamouni – a moment both unexpected and utterly determined – Victor Frankenstein climbs the glacier of Montanvert on a rainy day, pausing to seek the elevation of

in Counterfactual Romanticism
Susanne Becker

’s Frankenstein ( 1818 ) is a good example of how such contextualising of an incredible experience works (see Johnson 1987 , 146). Each narrator’s – Walton’s, Frankenstein’s and the creature’s – ‘autobiography’ is prefaced by the plea ‘hear my tale’ to the implied listener (Mrs Saville, Walton, Frankenstein). In the beginning as well as at the end of the story

in Gothic Forms of Feminine Fictions
Matthew Roberts

. Political Frankensteins alarmed O’Connell’s professed sympathies for the principles of Chartism made him a more difficult opponent to deal with than someone who was openly opposed to them as it implied his opposition was merely the product of strategic and tactical differences. If only the Chartists had realised the errors of their ways, all would have been well in his view. This meant that it was

in Democratic Passions
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The family destabilized in The Monk (1796), Zofloya, or the Moor (1818), and Her Fearful Symmetry (2009)
Joanne Watkiss

and cover the smell of decay: ‘her breath smelled wrong, like spoiled food, like the hedgehog he’d found dead in the heating system of the cemetery’s office’ (353). Like Antonia in the tombs of the Abbey, Valentina’s body is trapped in the flat for Elspeth to possess herself. As Elspeth is reborn in her daughter’s body, she becomes monstrous, akin to Frankenstein’s monster: ‘the body opened its mouth

in Gothic kinship
Richard Hewett

i ng One live production to depart entirely from the studio realist model was Frankenstein’s Wedding (BBC, 2011), a re-​telling of Mary Shelley’s gothic novel that combined drama, musical and audience participation, and was broadcast in real time from Kirkstall Abbey in Leeds. Rather than being a traditional studio production, director Colin Teague’s cast and OB crew were required to perform a feat that was arguably closer in nature to a live concert. The production was subsequently nominated in the Sport and Live Event category at the British Academy Television

in The changing spaces of television acting
Why some of us push our bodies to extremes

This book is about people willing to do the sorts of things that most others couldn't, shouldn't or wouldn't. While there are all sorts of reasons why people consume substances, the author notes that there are those who treat drug-taking like an Olympic sport, exploring their capacity to really push their bodies, and frankly, wanting to be the best at it. Extreme athletes, death-defiers and those who perform incredible stunts of endurance have been celebrated throughout history. The most successful athletes can compartmentalise, storing away worry and pain in a part of their brain so it does not interfere with their performance. The brain releases testosterone, for a boost of strength and confidence. In bondage, discipline, sadism and masochism (BDSM) play, the endogenous opioid system responds to the pain, releasing opioid peptides. It seems some of us are more wired than others to activate those ancient biological systems, be it through being caned in a dungeon during a lunchbreak or climbing a sheer rock wall at the weekend. Back in 1990, sociologist Stephen Lyng coined the term 'edgework', now frequently used in BDSM circles, as 'voluntary pursuit of activities that involve a high potential for death, physical injury, or spiritual harm'.