The function of material and spiritual
roads in the English eremitic tradition
Michelle M. Sauer
Religious vocations in the Middle Ages took a wide variety of
forms, from the traditional careers of cloistered monks and nuns to
more unconventional choices, such as being a hermit or anchorite.
While all shared the goal of becoming closer to God spiritually,
the ethos and practices of each were different. Monks and nuns
took formal vows, identified with an order and lived communally
within established houses following established rules. Hermits and
This essay proposes that a number of the concerns expressed in
Dracula can be read through Bram Stoker’s employment of the
imagery of precious metals and jewels. Focusing on the materiality of place –
the treasure-laced landscape of Transylvania and the cliffs of Whitby famous for
their reserves of jet – and the association between these materials and
vampirism, I argue that analysing the symbolism of precious materials leads to a
fuller understanding of many of the novel’s key anxieties. Not only does this
analysis demonstrate Stoker’s elaborate use of jewel imagery in developing the
notion of the female vampire as a hard, penetrative woman, it identifies the
imperial implications of the trade in precious materials. In doing so, it claims
that Stoker employs a ‘language of jewels’ in Dracula, through
which he critiques the imperialistic plundering of Eastern lands, and
demonstrates how these monsters – intimately entwined with these materials –
attempt a rejection of Western appropriation.
Visual Advocacy in the Early Decades of Humanitarian Cinema
testimonial function of the films in humanitarian publications and promotional material and discusses the idea that ‘seeing is believing’. Following on that, the link between visual evidence and affects is addressed, as humanitarian cinema allowed contact with suffering that was more intimate. Finally, the immediacy of the cinema technology and its induced immersive spectacle is analysed, to question the perceptual experience of the films’ settings with the production of eyewitness images and first-hand accounts during the screenings. The paper concludes by highlighting the
political change, vulnerability becomes a direct
or unmediated experience characteristic of the life-world of the person concerned. Just as
important as material aid, if not more so, is fast access to sympathetic value-added
information. With design having supplanted politics within the post-humanitarian canon, the
discursive field is bounded by the interplay between the empathy of the
onlooker or practitioner and the direct experience of the affected. 10 The aim is no longer to control or contain
disasters – it’s more about improving how they
In The Arcades Project, Benjamin explores the different aspects of nineteenth-century culture, in search of a historical reality to which people can awake in a revelatory act of political consciousness. However, the uncanny effects of his archival approach impinge on this revelatory and sublime process. Rather than revealing the political, economic, and technological latent content of the past, representations of the material object confront consciousness with the unfamiliar and abject forms of the repressed collective unconscious. The Gothic tropes of Benjamin‘s text are the traces of the melancholy haunting his concept of a demystifying revelation of historical and material truth.
This article theorizes the transgressive faculties of cyberspace‘s Gothic labyrinth, arguing that it is haunted by the ghost of material/information dualism. This ghost is embodied in cybergoth subculture: while cybergothic music creates a gateway to the borderland between biological and virtual realities, dancing enables cybergoths to transgress the boundaries between the two.
The after-effects of mass atrocity – bodies and bones – struggle to be defined
within memorial projects. This article seeks to examine the politics at play in
displaying dead bodies to interrogate the role of materiality in efforts to
memorialise and raise awareness about on-going violences. It focusses on the
nexus between evidence, dignity, humanity and memory to explore bone display in
Rwanda. It then takes up two artistic projects that play on the materiality of
human remains after atrocity: the art of Carl Michael von Hausswolff, who took
ashes from an urn at the Majdanek concentration camp and used them as the
material for his painting, and the One Million Bones Project, an installation
that exhibits ceramic bones to raise awareness about global violence. In
thinking about the intersections between human biomatter, art and politics, the
article seeks to raise questions about both production and consumption: how
bones and ashes of the dead are produced, and how they are consumed by viewers
when placed on display in a variety of ways.
Mercenaries are fighters who operate under special conditions. Their presence, as
shadow combatants, often tends to exacerbate the violence of their enemies.
That’s why the analysis focuses on the singularity of the relationship to
death and ‘procedures’ concerning the corpses of their fallen
comrades. As a fighter identified and engaged in landlocked areas, the
mercenary’s corpse is treated according to material constraints
pertaining in the 1960s. After violence on their body, and evolution towards the
secret war, mercenaries favour the repatriation of the body or its
disappearance. These new, painful conditions for comrades and families give
birth to a collective memory fostered by commemorations.
Zoographic Ambivalences in Mantegazza, Ouida, and Vernon Lee
In the framework of contemporary ecocritical theories, this comparative analysis of works by Paolo Mantegazza, Ouida, and Vernon Lee focuses on the conflictual relationship of proximity and differentiation at stake in the human-animal distinction in a post-Darwinian context dominated by the rise of experimental sciences. A discussion of vivisection and animal taming prompted by anthropocentric works as Fisiologia del dolore and Upilio Faimali in tension with proanimal essays by Ouida and Lee shows how the animal, caught between pure inert materiality and idealization, emerges as an intrinsic lack that the human fills with contending rational, utilitarian, moral, and affective motivations.
In 1954 and 1958 the John Rylands Library acquired a significant portion of the
library of Dr Moses Gaster (1856–1939). As a scholar and bibliophile, Gaster
collected manuscripts, printed books, pamphlets and amulets. His collection
reflects his wide ranging interests: philology (including Romanian language,
folklore and literature), Judaica, magic and mysticism, and Samaritan studies.
This article presents a survey of the varied Rylands Gaster collection. It
includes an inventory of the miscellaneous manuscript sequence, a complete
handlist of Gaster‘s German manuscripts and an introduction to the archival