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From protest to resistance
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln, and Bill Osgerby

class terms rather than the racial connotations too often drawn from its links to the skinhead subculture. Questions of age and gender are brought to the fore in Laura Way’s chapter, with an emphasis on constructing and retaining a punk identity amongst ‘older women punks’. Ivan Gololobov, meanwhile, examines the transgressive concept of ‘immigrant punk’ to present bands such as Kultur Shock as both reflecting and resisting the processes of postmodernity. Finally, Pete Webb assesses the extent to which Crass helped forge a politically active ‘milieu’ that cut across

in Fight back
Politics and aesthetics
Carl Lavery

utopian anarchist, Genet has little time for juridical notions of the political based on social contract theories. 20 On the contrary, he believes that alternative notions of community burst forth spontaneously, when the laws and customs of society – those codes which force individuals to identify themselves, exclusively, with a single function or identity – have been transgressed. In his analysis of the Palestinian revolution, he is quick to point out how the Palestinian women reinvented themselves in a space beyond the law: Even more than the men, more than the

in The politics of Jean Genet’s late theatre
Susan Hayward

innocent absence. The family is absent for a reason. This chapter is going to investigate these issues of transgressive ‘child’ and absent parent in Besson’s films and is going to do so through the triple-optic of genre and gender construction, regression and pathology, resistance and power relations. Although all three frameworking optics overlap, I shall – as with previous chapters – be using separate headings for this

in Luc Besson
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A settler society
Robert Bickers

. It then looks at the recruitment and socialisation of recruits into treaty port society, and the strategies employed to maintain social and sexual distance between Britons and Chinese, as well as the punishments handed out to transgressors. Peer pressure and an emphasis on individual character were the nuts and bolts of this process, and individual experience is the focus of this analysis. The

in Britain in China
De battre mon coeur s’est arrêté, Sur mes lèvres and De rouille et d’os
Gemma King

Audiard est l’un des cinéastes qui filme le mieux le corps des hommes. (Nuttens, 2012 : 7) 1 The body, and the boundaries that can be transgressed by and within it, are essential to the cinema of Jacques Audiard. This is despite the fact that the

in Jacques Audiard
Medical personnel and the invasion of Europe in the Second World War
Carol Acton and Jane Potter

memoirs, there is a direct correlation between the need to write and the uncovering of war as an activity whose main concern is, as Scarry puts it, ‘injury’ and ‘injuring’.40 In the Second World War the stories told by medical personnel not only tell their experience and that of the wounded, but in doing so disrupt the more comfortable Allied narrative of victory over an evil Nazi machine. Bearing witness to their own trauma and that of those they care for is integral to the transgressive element of these accounts. For Phibbs working on the front lines, and Morris in

in Working in a world of hurt
Conrad Aquilina

haughtiness and bitter contempt; yet … an air of melancholy and dejection shaded over and softened every harsher expression. 17 This Byronic image shares with the Romantic vampire a love of darkness, a hypnotic gaze and a paradoxical obsession with destroying the object of his desire. Transgressing all social and ethical boundaries

in Open Graves, Open Minds
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Sarah Annes Brown

difference and similarity between Northern Lights and The Lion, the Witch and the Wardrobe . Allusion and the uncanny are both characterised by this blend of the familiar and the unfamiliar. An uncanny effect is created when the membrane separating the natural from the supernatural world appears to be punctured. An allusion is effected by a similar transgression of the barrier separating the enclosed

in A familiar compound ghost
Daniel Orrells

growing interest in the transgressive aesthetics of the Renaissance in the late Victorian period.23 The word ‘curious’, Eve Kosofsky Sedgwick observes, is ubiquitous in Chapter 11 of Dorian Gray, which surveys Dorian’s art collections. As Sedgwick notes, ‘curious’ can refer to the ‘subjective quality of persons’, someone ‘careful, attentive, anxious, cautious, inquisitive, prying, subtle’; and it can describe the ‘delicate, recherché, elaborate, unduly minute, abstruse, subtle, exquisite’ object being looked at.24 ‘Curious’ records, ‘on the one hand, the hungrily

in Richard Marsh, popular fiction and literary culture, 1890–1915
Bryan Fanning

disadvantage they experienced. The account of Travellers set out in the minority report depicted them as a deviant and transgressive underclass. It spoke of the ‘failure of travellers and travellers organisations to recognise that today’s society finds it difficult to accept a lower standard of conduct from a section of the community who consciously pursue a way of life which sets its members apart from ordinary citizens’.8 From this perspective it was argued that the hostility of the settled community to Travellers was justifiable. The minority report claimed that the ‘vast

in Racism and social change in the Republic of Ireland