This article examines the effects of distracted sight, peripheral objects and hazily-perceived images in the ghost stories of M. R. James. It argues that the uncanny illumination produced by the accidental glance in his tales bears affinity with many Gothic narratives, including those of E. T. A. Hoffmann and Margaret Oliphant. James‘s work has often solicited only a casual look from critics, yet his exploration of the haunted edge of vision not only grants his work a hitherto neglected complexity, but also places him firmly within the Gothic tradition.
Truman Capote, Breakfast at Tiffany‘s and Hollywood
This essay examines some of the literary and biographical models Truman Capote drew
on in the creation of Holly Golightly, the heroine of his 1958 novella Breakfast at
Tiffany‘s. Making use of Paramount studio records, the essay also explores the
complex process of adapting the story to the big screen. Numerous changes were made
so as to transform Capotes story into a romantic comedy, and thus to contain Holly‘s
liberated sexuality while also erasing any doubts about the male protagonists
heterosexuality. Casting Hepburn as the female lead helped to neutralize Holly‘s
sexual transgressiveness, and it sexualized the stars ethereal persona.
An Interview with Celso Amorim, Former Brazilian Foreign Minister
time in modern history, the major global power – I am of course referring to the US
– doesn’t have a project for the world. It is evident that the US has always
defended its own interests, but it always imagined or at least presented its interests –
I’m not casting a value judgement here – as linked to a project for the world.
Following the Second World War, it was the Americans who assumed primary responsibility for the
creation of the international system, starting with Roosevelt. Some international institutions
were accessible to all
the communities within which they reside
( Turchik et al. ,
2016 : 143). This would require shifting away from the language that
exclusively focuses on casting men as perpetrators and women as victims of violence
( Turchik et al. ,
2016 : 137). For example, one of the mechanisms for receiving clients
within humanitarian settings includes having the literature about CRSV on display.
The language used in these areas for receiving victims
Solidarity provides a sound moral framework to bridge reason and emotion. It also
addresses the flaws of témoignage, which has fostered a
humanitarian-centric vision of change and a de-politicised humanity,
foregrounding the physical needs of human beings, and casting social, economic,
emotional and spiritual needs as matters outside the humanitarian realm. The
humanitarian enterprise is still widely seen as a patronising undertaking,
Unlike Romantic authorship, the Gothic author has long been identified with unoriginality. A foundational moment in this association can be found in the reception of the original Gothic plagiarist, Matthew Lewis. Critics not only condemned Lewis for apparently usurping other authors property in The Castle Spectre but also did so by casting him as his own usurping villain. This parallel between Gothic conventions and critical language suggests that the Gothic might have played a crucial role in the history of our concepts of intellectual property, and particularly in the development of the now-familiar figure of the criminalized, and vilified, plagiarist.
This essay examines The Lair of the White Worms cultural logic, its mobilization of that dense network of specific historical references - to mesmerism, physiognomy, alienism, degeneration, and theories of race - which underlies so much of Bram Stoker‘s output. It is argued that Stokers last novel can serve as a kind of summa for Stoker‘s entire oeuvre, casting a retrospective eye over precisely those ethnological concerns that had animated his writings from beginning to end. For, in Stoker‘s imaginary the monstrous is always inscribed within a topography of race that his novels at once challenge and confirm by bringing pressure to bear on the whole scientific project of a general anthropology at its most vulnerable point: the distinction between the human and the near-human, between the species form and its exceptions.
Through the prisms of psychoanalysis and narrative theory the article addresses the concepts of temporality and transgenerational phantom in Elizabeth Gaskells Gothic piece ‘The Poor Clare’ (1856). Gaskells text, which revolves around an ancestral curse, is but a loose repetitious narrative characterized by the circularity of its structure and tone – its end casting one back into its middle – with its narrator narrating the past locked into the present, which is completely determined by the future, by the curse to be fulfilled. Narration becomes unsettling and obsessional, revealing the texts shared phantoms/foreign bodies as these implicate the characters and the narrating persona in a complex web of unconscious identifications and psychic splits, eventually coming to congeal around the biblical prophecy: ‘the sins of the fathers shall be visited upon the children’. In being reiterated throughout, the cryptic and (encrypted) words reaffirm both the efficacy of the curse –which always already doubles back on the one that has hurled it – and the texts playing out of desire and trauma, thus rendering the celebrated subject of the Enlightment both an ailing subject and an alien to itself.