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local labour force, low levels of war production, the absence of conscription and Unionism’s general apathy towards civil defence all impacted negatively on the local regime. 4 Doubts were soon raised over the province’s actual contribution to the war effort. True to form, many Unionist leaders began to make the calculated sectarian argument that such despondency was largely attributable to the influx of Southern migrant workers into Belfast. An extension of the British social welfare state to Northern Ireland and the tackling of acute unemployment were huge
of the great English hero. This sets the scene for the contrasted portrayal that is to come of his son and heir, Henry VI. But, as this chapter argues, Shakespeare is also playing with the forms with which this telescoping is achieved: the forms of news. All three messengers come with news from France. Shakespeare’s play thus echoes a current preoccupation of the
In this article I demonstrate the significance of a flexible approach to examining the autobiographical in early eighteenth-century womens writing. Using ‘old stories’, existing and developing narrative and literary forms, womens autobiographical writing can be discovered in places other than the more recognizable forms such as diaries and memoirs. Jane Barker and Delarivier Manley‘s works are important examples of the dynamic and creative use of cross-genre autobiographical writing. The integration of themselves in their fictional and poetic works demonstrates the potential of generic fluidity for innovative ways to express and explore the self in textual forms.
Film production at Paramount Pictures during the so-called classical era required the mobilisation of massive material and human capital that depended on institutional systems of surveillance, knowledge creation and control ranging from departmental affiliations to the pre-printed budget forms. This article focuses on those pre-printed budget forms as technologies of knowledge and power, revealing that the necessities of creating and managing coalitions of expert labourers created alternative power centres and spaces where being the object of surveillance was itself a source of power. It concludes by discussing the implications of this ecology for the historiography of Hollywood.
In discussions of conflict, war and political violence, dead bodies count. Although the politics and practices associated with the collection of violent-death data are seldom subject to critical examination, they are crucial to how scholars and practitioners think about how and why conflict and violence erupt. Knowledge about conflict deaths – the who, what, where, when, why and how – is a form of expertise, created, disseminated and used by different agents. This article highlights the ways in which body counts are deployed as social facts and forms of knowledge that are used to shape and influence policies and practices associated with armed conflict. It traces the way in which conflict-death data emerged, and then examines critically some of the practices and assumptions of data collection to shed light on how claims to expertise are enacted and on how the public arena connects (or not) with scholarly conflict expertise.
Wallace explores nineteenth-century ghost stories written by Elizabeth Gaskell, and later tales by May Sinclair, and Elizabeth Bowen. Using ideas drawn from Modleski and Irigaray she argues that such tales explore how a patriarchal culture represses/buries images of the maternal. She further argues that the ghost story enabled women writers to evade the marriage plots which dominated the earlier Radcliffean Female Gothic, meaning that they could offer a more radical critique of male power, violence and predatory sexuality than was possible in either the realist, or indeed Gothic, novel. Wallace argues that the ghost story functions as the ‘double’ or the ‘unconscious’ of the novel, giving form to what has to be repressed in the longer, more ‘respectable’ form.
In this essay the author proposes that a detailed study of the context of the production and reception of the spate of best-selling marine natural history books published in the 1850s provides an important and neglected opportunity for understanding Victorian conceptions of evolutionary,and anthropological monstrosity. Whilst the ape has received a good deal of attention as the primary evolutionary icon, through which the Victorians dreamed their nightmares of descent, the marine invertebrate has been much neglected. However, represented by evolutionists as the first life forms on the planet from which all higher life forms had evolved, marine invertebrates were an important alternative evolutionary ancestor, and were used to express ideas about the `nature of class, race and masculinity‘.
This article considers the ways in which eighteenth-century womens travel narratives function as autobiographical texts, examining the process by which a travellers dislocation from home can enable exploration of the self through the observation and description of place. It also, however, highlights the complexity of the relationship between two forms of writing which a contemporary readership viewed as in many ways distinctly different. The travel accounts considered, composed (at least initially) in manuscript form, in many ways contest the assumption that manuscript travelogues will somehow be more self-revelatory than printed accounts. Focusing upon the travel writing of Lady Mary Wortley Montagu, Katherine Plymley, Caroline Lybbe Powys and Dorothy Richardson, the article argues for a more historically nuanced approach to the reading of womens travel writing and demonstrates that the narration of travel does not always equate to a desired or successful narration of the self.
Discussion of the horror film fanzine culture of the 1980s and early 1990s has been dominated by an emphasis on questions around the politics of taste, considerations of subcultural capital and cultism in fan writing, and processes of cultural distinction and the circulation of forms of capital. Sconce‘s concept of paracinema has come to shape the conceptual approach to fanzines. The aim of this article is to refocus attention on other areas of fanzine production, providing a more nuanced and richer historicisation of these publications and the ways they contributed to the circulation, reception and consumption of European horror film. Focusing on the fanzine European Trash Cinema (1988–98) I propose a return to the actual cultural object – the printed zine – examining the networks of producers converging around, and writing about, Eurohorror films and related European trash cinematic forms, as well as the contents within the publication itself.
The article will present the findings of ethnographic research into the Colombian and Mexican forensic systems, introducing the first citizen-led exhumation project made possible through the cooperation of scholars, forensic specialists and interested citizens in Mexico. The coupling evolution and mutual re-constitution of forensic science will be explored, including new forms of citizenship and nation building projects – all approached as lived experience – in two of Latin America‘s most complex contexts: organised crime and mass death.