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Drunkenness and the Southern Gothic in Flannery O’Connor‘s The Violent Bear It Away
Lindsey Michael Banco

This essay explores a link, previously unremarked, in the Southern Gothic novelist Flannery O’Connors The Violent Bear It Away (1960) between the drunkenness of the novels protagonist and the idiot child he is compelled to baptize. Inspired by the possibility that much of the canon of American literature contains a symbolic economy of alcohol – what John Crowley calls ‘the White Logic’ – I argue that aligning the child with intoxication produces a poetics of addiction that helps explain the redemptive, revelatory climax of the novel in which O’Connors protagonist fulfills his religious destiny. The novel thus calls for a more complex understanding in American Gothic literature of the protean nature of intoxication.

Gothic Studies
Mitja Sienknecht

The (non-)recognition of groups in violent conflicts The process of recognition establishes a relationship between the subject, who is recognising, and the object, who aims to be recognised. In the realm of world politics, recognition of groups or states is an important tool for states and international organisations (IOs) to distinguish between legitimate and illegitimate actors. Consequently, this relational process is always one that is based on power structures between the one who recognises and the one who is

in Armed non-state actors and the politics of recognition
Chien-peng Chung

per cent by the Turkic Muslim Kazaks, and 40 per cent by the Han. Xinjiang's history of short-lived Uyghur independence movements in the 1930s and 1940s has inflamed the passions of some Uyghur militants to realise an independent Xinjiang, which they refer to as Uyghuristan or, more commonly, East Turkestan. Others typically want a minimum of recognition from the Chinese state that Xinjiang should be considered the historic homeland of the Uyghurs. For top officials in Xinjiang, the biggest challenge has been to prevent terrorist activities by alleged Uyghur

in Armed non-state actors and the politics of recognition
Kelly Kollman

Kollman 02_Tonra 01 03/12/2012 12:15 Page 23 2 Sexual citizenship, LGBT movements and the relationship recognition debate in western democracies Since the late 1980s state recognition of same-sex couples, and more recently the opening of marriage, have become the central focus of LGBT rights movements in almost all western societies. Although the idea is not entirely new, this focus on relationship recognition does represent a significant change in the prioritisation of movement goals from the 1970s and 1980s. This shift has occurred despite the fact that in

in The same-sex unions revolution in western democracies
Anne Ring Petersen

2 The politics of identity and recognition in the ‘global art world’ Identity politics informed by postcolonial critique dominated the discourses on the interrelations of globalisation, migration and contemporary art in the 1990s and the early 2000s. The previous chapter characterised the position from which the struggle for recognition of non-Western artists was launched, designating it the postcolonial position, in contradistinction to the migratory aesthetics position that gathered momentum in the 2000s. This second chapter examines the historical role and

in Migration into art
Lynn Dobson

9 Mutual recognition in the supranational polity In earlier chapters it was argued that citizenship, being an institutional role, is not reducible to nor incorporates as a component the social relations between persons, and that these must be conceptually and theoretically distinguished from it. However, social relations are not irrelevant to citizenship. This chapter examines what relations must obtain between the inhabitants of the EU as agents or as natural persons, if these interpersonal relationships are to be adequate for political agency and thus

in Supranational Citizenship
Élodie Lecuppre-Desjardin

name but a few, has directly or indirectly identified principles which, in the context of networks of reciprocal obligations, linked individuals to power. 38 From a simple gift to a reward of pensions and rents, the prince's generosity was the keystone of an edifice based on distribution and redistribution. Largesse! A principle of government Court nobles live by the recognition of merits and of men through the expression of favour by the first amongst them. In giving this well

in The illusion of the Burgundian state
The case of the ‘Donetsk People’s Republic’
Nataliia Kasianenko

domestic support and recognition. These main tools involve the use of citizenship laws, support of an external patron, and provision of public goods. Governance in pursuit of domestic support further exacerbates the issue of statelessness in the ‘republic.’ While most of the residents of the occupied Donbas have retained their Ukrainian citizenship, many have taken citizenship of

in Statelessness, governance, and the problem of citizenship
Lessons Learned for Engagement in Fragile and Conflict-Affected States
Logan Cochrane

). One reason that one might expect to see a rise of evaluation work over time within South Sudan is because of a recognition by donors in the 2000s that thousands of interventions had taken place but there was a dearth of evidence about what impacts had resulted ( Bennett et al. , 2010 ; Norad, 2016 ). These donors have continued to operate in the newly independent Republic of South Sudan, many of which have published evaluation reports identified by this study. Synthesis of Lessons Learned The following synthesis of lessons learned is presented based on

Journal of Humanitarian Affairs
Lorraine Yeung

This article investigates the emotive potency of horror soundtracks. The account illuminates the potency of aural elements in horror cinema to engage spectators body in the light of a philosophical framework of emotion, namely, the embodied appraisal theories of emotion. The significance of aural elements in horror cinema has been gaining recognition in film studies. Yet it still receives relatively scarce attention in the philosophical accounts of film music and cinematic horror, which tend to underappreciate the power of horror film sound and music in inducing emotions. My investigation aims both to address the lacuna, and facilitate dialogue between the two disciplines.

Film Studies