theatrical performance. Barker asserts the usefulness of Christopher Balme’s distinctions of intermediality and the need to embrace the interdependence of media, but argues that this realises these media as separate forms and experiences.
Barker contends that livecasts force us to consider ‘new ways of “doing liveness”’ (71). This petition to consider new ways of thinking about the live seems appropriate to a consideration of adaptations of a story that warns of the dangers of constructing a new sense of life, liveness, and the lack of
another layer to the ‘network of texts’ collectively known as ‘Frankenstein’, but also implicitly or explicitly engages with previous adaptations, blurring the lines between old and new, original and derivative. Together, all the pieces make up the Frankenstein Network.
Identifying and understanding adaptation trends from Presumption to the present highlights the nuances and interdependence of Frankenstein ’s adaptation history. One of the most important takeaways from this approach is that a one-to-one model of adaptation does not
Sibling incest, class and national identity in Iain Banks’s The Steep
Approach to Garbadale (2007)
then sibling incest might be read as the biggest resistance to trade.
Viewed from this perspective the refusal of exogamy or marrying outside the family is the refusal to interact with
others for mutual benefit, not to enter into social alliances and
extended family networks of interdependence but to keep everything for
oneself. Sibling incest might therefore signal the arrogant refusal of
the need to trade, and a disavowal of
Romances, novels, and the classifications of Irish Romantic fiction
proves that it is, in fact, revelatory of a much longer established generic fluidity and interdependence that prevents any easy distinction between gothic novel and national tale from the last decade of the eighteenth century into the first two decades of the nineteenth. In its pointed use and interrogation of romance as a tool for describing an often fantastic and horrific reality, moreover, O'Donnel links itself to contemporary tales such as The convent , The heroine , The Irish heiress , and Strathallan . As it does so, it underscores the enduring production
, operating linguistically through codes. 70 Television’s primitive precursor, the triode lamp, is also dragooned into his metaphorical system to explain how the Imaginary intervenes in the coded outputs of language and symbols. 71 For Lacan, technological image-making demonstrated the interdependence of the Symbolic and the Imaginary, since his triode lamp needed both in order to produce its effect. Likewise, the cathode tube provides a material analogy for the fragmentary subject: it produces itself autonomously through a process that is fluid, conflicted, and ‘at best
This chapter contains a collection of gothic texts between 1706 and 1750 connected with supernaturalism. It is a commonplace that Gothic writing developed in reaction against the rules of neo-classical criticism. The aim of John Dennis's treatise as a whole was to show the necessary interdependence of religion and poetry, and the importance of strong emotions in both. Shakespeare saw how useful the popular superstitions had been to the ancient poets: he felt that they were necessary to poetry itself. Although William Collins ostensibly eschews the use of 'false themes' for himself, his emotive treatment of the supernatural material he recommends to Home makes him a precursor of the Gothic novelists. In the 1790s, Ann Radcliffe frequently cited his poetry in her fiction and journals.
circumscribed conventions of Balzac’s Norwegian village, the
same interdependence of death and life is evidenced in
Séraphita’s influence over her servant David, but with
– so to speak – the terms reversed. In Balzac the
central figure acts upon the near-dead so as to render them in a
state of constant resurrection
alive and flourishing’. 15 Both the vehemence of the refutation and
the semi-contradiction that underlies his assertion of the autonomy
of his theory from biographical events indeed seem to demand further
speculations on what could have been at stake for Freud in refusing
to acknowledge an interdependence between the theoretical
formulation of a death drive and the experience of his
, postulated as unattainable, or at best perpetually threatened,
merely a fragile ideal, relentless different to itself and, at extreme
moments, containing within itself the difference that destroys it.
Indeed the intimate structural grasp of how families work – as
systems of interdependence, co-reliance, mutual inter-definition, as
well as structures of repression and suppression, undesired persistence
unburied. The question this play’s strange visual doubling
leaves undecided is the nature of the relationship between them.
Does the interdependence of body and soul survive death after all?
If so, what exactly is it that either rests in the grave or walks
Although the play makes proper reference to religious
belief (‘Thy body shall