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Alison Findlay

, Bewitching of Anne Gunter , pp. 5, 98–106. 23 S. Clark, ‘Inversion, misrule and the meaning of witchcraft’, Past and Present 87 (1980), pp. 98–127. 24 Sandra Gilbert, ‘Introduction’ to Hélène Cixous and Catherine Clément, The Newly Born Woman , trans. Betsy Wing (Manchester: Manchester University Press, 1986), p. xii. 25 Nicholas Breton, The Good and the Badde, or Descriptions of the Worthies, and Unworthies of this Age (London, 1616), cited in N. H. Keeble (ed.), The Cultural Identity of

in The Lancashire witches
Kieran Keohane and Carmen Kuhling

that he cut out for himself in the forest of modernity, the Cyclops for Joyce is not a figure of deprecation, but on the contrary one to be admired and emulated, a sovereign god-like authority who makes decisive actions that shape the historical, political and cultural landscape by virtue of his will to power. 16 Developing Derrida, Cixous (1976) says that ‘phallogocentrism’ is the operative principle of culture that is male-dominated. Just as the phallus is implicitly (or explicitly) assumed to be the only significant sexual organ, the masculine is accepted as the

in The domestic, moral and political economies of post-Celtic Tiger Ireland
Catherine Spencer

Is Not One , trans. Catherine Porter with Carolyn Burke ( Ithaca, NY : Cornell University Press , 1985 [1977] ), 28 . 144   As exemplified by Hélène Cixous in ‘The Laugh of the Medusa’ (1975), which asserts of woman that: ‘there is always within her at least a little of that good mother’s milk. She writes in white ink.’ Hélène Cixous , ‘ The Laugh of the Medusa ’, trans. Keith Cohen and Paula Cohen , Signs 1 , no. 4 (Summer 1976 ): 875–93 ( 881 ). 145   ‘Woman’, Beauvoir stated, ‘is not a completed reality, but rather a becoming

in Beyond the Happening
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The echoes of Rome in Julius Caesar
Richard Wilson

. 55 This door metaphor is keyed to Schmitt’s political theology, with its reactionary nostalgia for the Pontifex Maximus, an ‘authoritarian person or an idea that as soon as it is represented also personifies itself’. 56 But the occulting figure is very pertinent to Julius Caesar , where as Hélène Cixous poeticizes, the question ‘What is it o’clock’ is associated with a ‘door we never

in Free Will
Susana Onega

case study on hysteria,35 or rather to its historical antecedent, the sorceress, as defined by Cixous and Clément in ‘Sorceress and Hysteric’.36 This reading is enhanced by the ring in Stella’s self-addressed instructions as she methodically proceeds in her destructive task, which is strongly reminiscent of the bloodcurdling threats of witches or ogres persecuting a terrified child: ‘Ramsack the bedroom [. . . .] Give me a pot and let me turn cannibal [. . . .] Give me a drill [. . . .] Where is the chalk? [. . . .] First sever the headboard. Second, disembowel the

in Jeanette Winterson
Shakespeare in the time of the political
Richard Wilson

patience. As Hélène Cixous perceived, the quotidian question ‘What is it o’clock?’ [ Julius, 2,1,191; 2,2,114; 2,4,24; 5,3,108 ] therefore becomes the most imperative issue on this stage; so what also hangs about the endlessly unopened door, the uncanny attentisme of such a ‘strangedisposéd time’ [ 1,3,33 ], in these accounts, is a troubled impatience with the illusion of abstracted

in Free Will
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The event of the wound
Carl Lavery

, Goytisolo recognised that Genet’s late plays express the same revolutionary desire as his later militancy ( ibid .: 329). 3 Stunning, close readings of what we might call the ‘camp’ or ‘feminine’ component in Genet’s language are provided by Hélène Cixous, ‘Le rire de la Méduse’, L’Arc , 61( 1975 ), 39–54; Jacques Derrida, Glas , trans. J. Leavey, Jr and R. Rand (Lincoln: University of Nebraska Press, 1990) and ‘Countersignature’, Hanrahan, Genet , 7–42; Mairéad Hanrahan, Lire Genet: une poétique de la différence (Montréal: Presses de l’Université de Montréal

in The politics of Jean Genet’s late theatre
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An introduction
Katie Barclay

. Deleuze, Difference and Repetition (London: Continuum, 1994); S. Renshaw, The Subject of Love: Hélène Cixous and the Feminine Divine (Manchester: Manchester University Press, 2009). 34 Renshaw, Subject of Love. 35 For an extensive discussion of my conceptualisation of power see: K. Barclay, Love, Intimacy and Power: Marriage and Patriarchy in Scotland, 1650–1850 (Manchester: Manchester University Press, 2011), Chapter 1. 36 P. Bourdieu, Outline of a Theory of Practice (Cambridge: Cambridge University Press, 1972). 37 Ibid. 38 E.D. Ermath, ‘Agency in the

in Men on trial
Zalfa Feghali

6 2 27 28 29 30 89 People: Native American Gender Identity, Sexuality, and Spirituality, ed. Sue-​Ellen Jacobs, Wesley Thomas, and Sabine Lang (Urbana and Chicago: University of Illinois Press, 1997), pp. 100–​18, at p. 103. Ibid., p. 104. Gary Kinsman, The Regulation of Desire (Montreal: Black Rose Books, 1996), p. 93. R. W. Gray, ‘“…in my writing I see myself as a community worker”: An Interview with Gregory Scofield’, Arc 43 (1999): pp. 21–​9, at p. 23. Jamieson, ‘Âyahkwêw Songs’, p. 60. Morag Shiach, Hélène Cixous: A Politics of Writing (London and

in Crossing borders and queering citizenship
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Katharine Hepburn and Spencer Tracy
Kathrina Glitre

dynamic, but it also suggests a hidden gender essentialism: male as practical and rational, female as impractical and irrational – or the difference between a straight line and a spiral (Lundberg and Farnham 1947: 3). It is not so much the pairing of terms that is problematic, but the implicit values attached to each term of the pair: one side is preferred, while the other is denigrated. As Hélène Cixous argues, it is ‘always the same metaphor [. . .]. Thought has always worked through [. . .] dual, hierarchical oppositions. Superior/Inferior’ (1997: 91). Patriarchy is

in Hollywood romantic comedy States of the union, 1934–65