Search results

You are looking at 71 - 80 of 1,477 items for :

  • "supernatural" x
  • Refine by access: All content x
Clear All
Abstract only
Places and spaces in Johan Theorin’s Öland quartet series
Yvonne Leffler

often feature a female protagonist worn down by conflicting cares and thus far from heroic. Her endeavours – both professionally and in her private life – strengthen the social criticism and the exposure of the dark secrets and hidden hatreds in the Nordic welfare states. Thus, they contradict the established notion of social justice and equality in the Nordic societies. In the past decade or so, a Gothic subgenre to Nordic Noir has emerged. Here the police procedure is complicated by seemingly supernatural happenings; the initially realistic

in Nordic Gothic
Vernon Lee, Eugene Lee-Hamilton, and ‘the spell of the fragment’
Catherine Maxwell

Lee’s later tale ‘St. Eudæmon’ in any detail, it traces the origins and development of both writers’ interest in Venus, focusing attention on their treatment of a particular image of a Venus cast up from the deep and its significance for their work. The appearance of this specific image has an affinity with Lee’s presentation of the supernatural and her aesthetic interest in the fragment and the incomplete, both of which belong to a Romantic and Post-Romantic visionary tradition. Ideas and images rehearsed in this opening, such as the often-fragmentary classical

in Second sight
Men apart
Marja Warehime

particular. However, unlike Bertrand Tavernier’s 1984 Un dimanche à la campagne, which marked a nostalgic return to the values of the tradition of quality (Powrie 1997: 13, 47–8), Pialat’s films subvert the traditional forms in which they are cast. Sous le soleil de Satan Nothing could have seemed more astonishing than Pialat’s decision to follow Police with an adaptation of Georges Bernanos’s 1926 novel Sous le soleil de Satan. A novel of the ‘supernatural incarnate’ – complete with a false miracle – written by a fervent Catholic, it had impressed contemporary critics

in Maurice Pialat
Stephen Snelders

and it is important not to misunderstand folk medicine as a static practice. On the contrary, an Afro-​Caribbean medical system was and is a composite of dynamic practices, or as is written of Haitian Voodoo: ‘a vital living body of ideas and behaviours carried in time by its practitioners and responsive of the changing character of social life’.’33 The supernatural: the treef In the Afro-​Surinamese experience of the cosmos, man is not only a physical or biological being, but also a spiritual one. In Winti, the soul or kra (in the head), the dyoko (guardian demons

in Leprosy and colonialism
Abstract only
H. P. Lovecraft and the cinema
Julian Petley

would have left the domain of material horror to enter that of psychological horror. And Lovecraft did not wish to describe psychoses, but repugnant realities. (Houellebecq, 2005 : 68) Lovecraft himself described his work as a form of ‘non-supernatural cosmic art’ (Lovecraft, 1999 : xvi) and the

in Monstrous adaptations
medical pluralism and the search for hegemony
Enrique Perdiguero

period. 21 For the historian the problem posed by these sources lies in the preoccupation of medical authors to locate the world of ‘popular beliefs’ in the context of the ‘irrational’ supernatural, thereby ignoring other aspects of popular medicine considered less ‘superstitious’ that were also part of the cultural repertoires about illness. 22 An examination of the sources discussed above certainly

in Witchcraft Continued
Detection, deviance and disability in Richard Marsh’s Judith Lee stories
Minna Vuohelainen

in its approbation of Holmes’ quest for normativity and its condemnation of suffragette campaigns. Yet Lee can be seen as both resistant to and complicit with the taxonomies commonly associated with detection; while the stories’ conformist position as scientifically minded detective fiction is complicated by their apparent tolerance of transgressive identities and Lee’s seemingly semi-supernatural communication skills, their very premise – Lee’s expertise as a teacher of the deaf – undermines such counter-hegemonic readings because her profession aims to conceal or

in Richard Marsh, popular fiction and literary culture, 1890–1915
American monsters
John Sharples

physical appearance and mental ability, suggesting the stigma of chess ability as an intellectual disfigurement, while retaining a degree of cultural power.3 Fischer appeared in a similarly exaggerated form with a similar aura surrounding him even as a child. Representations often raised hints of his supernatural potential, his going-beyond limited drudgery, but such a characterisation was merely one of many shapes Fischer took.4 This chapter prioritises Fischer’s image as a cultural chess-player, framing its subject as, first, a literary figure, experienced primarily

in A cultural history of chess-players
Abstract only
Horror acting in the 1970s British television drama
Richard J. Hand

British television drama in the 1970s had a special interest in the genre of horror. Examples of horror television included works with a supernatural theme, such as the BBC’s A Ghost Story for Christmas series (1971-78), most familiarly featuring adaptations of the short stories of M. R. James, but also works by Nigel Kneale for both the BBC (The Stone Tape [1972]) and ITV (Beasts [1976]). Of

in Genre and performance
Abstract only
Helen Wheatley

discussed in this study have been characterised, to a greater or lesser extent, by a sense of creativity and experimentation on the part of the programme makers, as they responded to the challenges of presenting the Gothic (and the supernatural and uncanny) on the small screen. While the project of defining ‘quality television’ will be left to others, I would however make a strong case here that many, if not all

in Gothic television