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Mark Lussier

Mark Lussier explores the field of subject formation from both Deluzian and Lacanian perspectives. ‘Shaped more than most by the erotic, esoteric, and exotic elements of Gothic symbolic’, Blake’s Marriage of Heaven and Hell and Visions of the Daughters of Albion explore how the unconscious ‘confront[s] the phallic order that animates patriarchy’, casting subject formation as a Gothic drama. For Lussier, both texts explore how subject formation involves a sort of wounding that the action of symbolisation—especially when that symbolisation is comprised of Gothic forms—can never entirely suture: what the eye sees and what the heart knows will remain always slightly askew, just as the Lacanian ‘I’ will never perfectly coincide with itself. Stressing the specific psychoanalytic terrain of female subjectivity, Lussier focuses most of his attention on Visions, a work in which Oothoon ‘endure[s] dual forms of objectification: her embodiment as an object of use (for the rapist Bromion) and as an object of exchange (for her ‘beloved’ Theotormon)’.

in William Blake's Gothic imagination
British and continental perspectives
Tanja Bueltmann and Donald M. MacRaild

The English ethnic associationalism we describe in this book was not unique; indeed, it was part of a world of associations. Providing a comparative context is therefore crucial. Chapter 6 charts the evolution and purpose of those ethnic clubs and societies established in North America by other migrant groups. We focus particularly on Scots and Germans and explore the beginnings of the associational culture of these groups. The Scots were the most active in the early phase of settlement, also anchoring their associationalism in philanthropy. St Andrew’s societies, much as those of St George, had an elite dimension, but catered for a broader migrant cohort—those in distress. Similarities in the work of the two organisations even led to concrete co-operation. From the mid-nineteenth century onwards, however, the Scots developed a second and distinct tier: an ethnic associational culture at the heart of which lay sport. This contributed to a significant proliferation in Scottish ethnic associational activity—though one that was trumped, in the early twentieth century—by the Scottish mutualist branches in both the US and Canada (Order of Scottish Clans and the Sons of Scotland respectively). We also develop non-British/Irish comparators through an examination of developments in the German immigrant community in North America to establish to what extent language was a factor in immigrant adjustment to new world realities. Examining the Germans will also permit consideration of how external developments—in this case particularly the First and Second World Wars—were watersheds that united British Isle migrants, while casting out Germans and the more militant wings of the Irish.

in The English diaspora in North America
Tim Ingold

, Linnaeus had in mind that the imago – the image – would finally appear into the light once the mask in which it had been encased finally disintegrated. In art, after all, images can reveal themselves in the same way, and to Linnaeus the metamorphosis of the insect, from larva to imago, must have seemed like a case of nature imitating art. For artisans of sixteenth- and seventeenth-century Europe had already been casting their own images of animal forms, using a technique that goes back to Roman antiquity. And their preferred animals were precisely those fabled for their

in Images in the making
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James Chapman

with the source material: the second half of Dumas’s The Three Musketeers is notably darker in tone than the first. While the series overall has a certain unevenness of tone, it was nevertheless a significant popular success. It averaged a respectable 6.3 million viewers and has been sold to seventy-eight countries. At the time of writing a second series has been commissioned – though this will be without Peter Capaldi due to his casting as the new ‘Doctor Who’. The Musketeers exemplifies all the hallmarks of the early twentyfirst-century costume adventure series. It

in Swashbucklers
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Michael Courtney and Liam Weeks

. This is also the case in Malta, which also uses the candidate-centred STV electoral system. With very few voters casting preferences across party lines (Hirczy de Mino and Lane, 2000: 192–93), it might seem as if Malta is a very party-centred system, but within their choice of party, candidate is very important. For this reason, among others, parties tend to run more candidates than seats, to ensure they have a wide enough variety of candidates to maximize the party vote. So, perceptions of candidates are mingled with perceptions of parties. This raises the issue of

in The post-crisis Irish voter
Paul Feig

. I’ve been in more casting sessions in my career than I can count. I work with amazing casting directors who bring in a range of performers, from established character actors to up-and-coming future stars to fresh-off-the-bus newbies. Having been an actor for many years and having suffered through thousands of auditions, I try to give all actors I see the maximum amount of

in Crank it up
Ruth Barton

(Robert Quinn, 2010). 1 Irish horror pops up in films made in other territories, including an Irish banshee in the Australian independent production, Damned by Dawn (Brett Anstey, 2009) and the uncanny housekeeper Mrs Mills (Fionnula Flanagan) in The Others ( Los Otros , Alejandro Amenábar, 2001). Of the indigenous productions, some trade on fears that arise out of specific local Irish incidents, whereas others take care to distance themselves, through setting and casting, from any identification with Ireland and Irish characters. Most fall somewhere in

in Irish cinema in the twenty-first century
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Doctor Who in the Brexit era
Susana Loza

. The casting of Bradley Walsh, Tosin Cole, and Mandip Gill respectively demonstrates the series’ ongoing commitment to colour-blindness, one that it shares with the BBC. As the network reaffirmed, shortly after the publication of Doctor Who and Race , ‘Reflecting the diversity of the UK is a duty of the BBC, and casting on Doctor Who is colour-blind. It is always about the best actors for the roles’ (Hastings and Sheridan, 2013 ). But, as the Davies and Moffat eras of Doctor Who have already shown us, colour

in Doctor Who – New Dawn
Thomas Hajkowski

4 Rethinking regional broad­casting in Britain, 1922–53 T he first four chapters of this book examined the BBC as a nationalizing institution and its role in the construction of a British national identity inclusive of English, Scottish, Welsh, and Northern Irish identities. They highlighted the fluidity of British national identity, the tensions inherent in the BBC’s construction of Britishness, and the contests over this version of Britishness inside the Corporation. The focus of this book now shifts to broadcasting within the nations that, along with

in The BBC and national identity in Britain, 1922–53
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Paul Dobraszczyk

these images, the narrow cobbled lanes are found to be places of unhealthy congestion – dark, waterlogged and, in the case of one set of images picturing a fallen wall that killed an unfortunate resident, a literal danger to life. As with much official photographic documentation of slum housing in this period, the case for demolition is made by casting a negative light on the existing built environment. In these photographs of Hulme, alleyways recur because they are viewed as both redundant, unhealthy and ungovernable – spaces that are clearly unfit for habitation

in Manchester