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the proscenium as theatrical frame is not, as Haerdter may be read to suggest, a concession to an outmoded theatrical naturalism but, instead, exemplary of Beckett's recognition of the altered situation of post-war theatre in a transformed media surround. The proscenium was not, after 1945, what it had been. 6 Beckett's deliberate uses of the apparatus of the theatre respond to the proscenium-like frame of the cinema, a resemblance stressed (for instance) by the curtains that open two otherwise very different films
, just at the beginning of the revolution. 10 Again in Burnet's words, ‘Self-not-self recognition means simply that all those clones which would recognize (that is, produce antibody against) a self component have been eliminated in embryonic life. All the rest are retained’ (Burnet, 1959a , 59). 11 As
anxiety that results from the accompanying revision of selfhood. DOUBLENESS AND DISFIGUREMENT: SIGNS OF WOMAN’S DUPLICITY The plot of ‘V.V.: Or, plots and counterplots’ is typical of the Alcott thrillers, as it is the story of a spurned woman’s quest for revenge. Virginie Varens, a young Spanish danseuse , is bent on receiving recognition and financial support for her son from the aristocratic family of the boy’s deceased father. The plot is wonderfully and unnecessarily complicated. Virginie is rescued from poverty
number of Maori choosing to wear moko (Nikora et al . 2007 : 481). This resurgence is due in part to a Maori renaissance born out of renewed demands for recognition of te reo (Maori language) as well as redressing ancient political wrongs, but it also reflects the acceptance of tattooing in contemporary New Zealand society among both Maori and non-Maori. 4 TATTOOS IN CARYL FÉREY’S CRIME FICTION Caryl Férey (b. 1967) is a bestselling French crime writer known for his contemporary novels in a variety of exotic
to what extent that practice is more recently portrayed as having become incorporated into the mainstream of fashion and consumer society. It will ask whether tattoos could be considered legitimate serious art in the early twentieth century and today; and how far the recognition of tattooing as legitimate art comes at the cost of compromising the politically transgressive potential of the practice. ‘THE THINGS OF ART’: TATTOOS AND TRANSGRESSION IN THE ELECTRIC MICHELANGELO On the surface, Eliot Riley, the
, Sabu is an example of an Indian who met success in the West and an embodiment of ideal Indian masculinity. As Claudia Sternberg suggests, ‘Sabu’s presence on the screen marks a certain moment in film history that provided migrant and diasporic audiences of earlier generations with the pleasure of recognition, seeing black or brown bodies at the heart of popular (if problematic) cinematic narratives’ ( 2010 , p. 269). To Sadru’s migrant ‘pleasure of recognition’, Rashid’s film adds Amin’s qualified viewpoint. As a second-generation diasporic citizen of South Asian
between medieval film and history, moving the discussion away from a preoccupation primarily with questions of authenticity or veracity. In a more recent essay Lindley draws on this recognition when he argues that films are influenced by literary and filmic conventions and precursors as much as by historical data, referring to Kingdom of Heaven (2005) as an example of this
give socially and politically marginalised subjects access to discourses of identity that will facilitate cultural and political recognition. 41 By publishing a memoir, such subjects gain access to authoritative speaking positions and, in some instances, use the form to test the limits of existing discourses. 42 Yet publishing accounts of queer lives requires several conditions to be met. First, a legal climate that will not seek
) Alameddine renders Peter a mouthpiece of American homonationalism. Jasbir K. Puar argues: National recognition and inclusion, here signaled as the annexation of homosexual jargon, is contingent upon the segregation and disqualification of racial and sexual others from the national imaginary […]. At work in this dynamic is a form of sexual exceptionalism – the emergence of national homosexuality, what I term ‘homonationalism’. (Puar, 2007 , p. 2) Peter disqualifies
story without a broader knowledge of Doyle’s use of tattooing, combined with a recognition of the relationship between his Holmes, medical and religious writings. An understanding of Doyle’s wider fictional and non-fictional writings enriches a reading of his Holmes stories. While Holmes is regarded as the arch-materialist, Doyle’s wider interest in medicine, religion, observational technique, spirituality, tattooing and bodily markings are an important influence upon this character. CONCLUSION Tattooing was a