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Psychosis and transgression
Will Jackson

of a mortal or existential threat. Fear of ‘native’ insurrection was echoed by fear of white transgression. While the delusions of many of the Europeans admitted to Mathari took ideas around savage Africa to their (il)logical extreme, others turned these discourses back in on themselves. In this regard it can hardly be without significance that while sensitivity to African danger was deemed necessary

in Madness and marginality
Gothic mansions, ghosts and particular friendships
Paulina Palmer

as ‘lesbian Gothic’. In fiction of this kind, as I and other critics illustrate, Gothic conventions and motifs become a vehicle for representing the transgressive nature of lesbian desire in hetero-patriarchal culture, the homophobic construction of it as monstrous and unspeakable, and the strategies of resistance that the female subject employs to articulate and explore it. 2 This, as we shall see, is the role

in Queering the Gothic
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Gemma King

?’. At its heart, Audiard’s cinema is defined by border-crossing in myriad forms: by the building of physical and symbolic walls, and the process of climbing – or dismantling – them. Audiard’s protagonists transgress geographic borders, physical limitations, social norms and class lines. Simultaneously violent yet intimate, dark yet hopeful, French yet ‘foreign’, grounded in an established film tradition

in Jacques Audiard
Nicole Vitellone

relationship to identity construction, many cultural commentators share a number of theoretical assumptions regarding the body, gender and sexuality post-AIDS. This commonality concerns an assumption that the visual field, particularly vis-à-vis eroticised images of safer sex, works to break down and/or transgress a stable heterosexual masculine identity, to the extent that for many social and cultural theorists such images have been assumed to incite a crisis of the male body and a crisis of heterosexual masculinity. In making this assumption explicit this chapter aims to

in Object matters
Open Access (free)
Women and public transport
Masha Belenky

’s reaction of shock and disbelief is emblematic of how the omnibus was viewed in the nineteenth-century French cultural imagination: as a place associated with improper female conduct and with different forms of sexual transgression. Many cultural documents present this vehicle as a space of dubious repute, where respectable girls like Claudine could become ‘contaminated’ by the inappropriate behaviour of other, less virtuous women passengers, or, worse, be taken for a woman of loose morals. In fact, by the last quarter of the nineteenth century, despite the fact that many

in Engine of modernity
Mark Doidge, Radosław Kossakowski, and Svenja Mintert

that transgressing mundane everyday acts can have a deep impact on others. More broadly, he observed how transitioning between genders requires a significant amount of learning new bodily behaviours. One does not simply wear new clothes and become a new person; the individual has to learn a new set of behaviours, acts and mannerisms. Through analysis of such performances in the context of the ultras, for example the imagery, banners and choreographies, we can gain an insight into how they see gender and how they envision their members behaving. With rare exceptions

in Ultras
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Transgender performance and the national imaginary in the Spanish cinema of the democratic era
Ian Biddle and Santiago Fouz-Hernández

transgressive in its most general sense, as having value in and of itself). Hence, at the heart of these ritualised structurings of transformation, one notes a deeply ambivalent political programme and a complex set of attachments to, and detachments from, the idea of tradition, a process that Heelas (1996) has termed ‘detraditionalisation’. Ocaña: Retrat intermitent In Ventura Pons’s Ocaña

in Screening songs in Hispanic and Lusophone cinema
Regnar Kristensen

science and criminology. As the contributions to this volume show, the corpse is not always the end of the story. On the contrary, as we shall see, a corpse still holds the power to stir up more death. The overall argument is that the brutal treatment of corpses transgresses the spheres of national security politics and the simple spread of terror. Corpses are instead seen as a social force that enchants politics and socialises religion. They make the past present 164 Regnar Kristensen and foresee possible futures. Drawing on popular Catholic practices I stumbled

in Governing the dead
Plant monsters as ecoGothic tropes; vampires and femmes fatales
Teresa Fitzpatrick

2013 : 55), ‘[g]othic fiction at its core is about transgression of all sorts’ of boundaries, including national, social, sexual, and ‘the boundaries of one's own identity’, challenging established constructs and foreshadowing societal anxieties of impending change (Heiland 2004 : 3). An ecoGothic approach pertains to examine these deep-seated fears through ‘the interconnectedness of gothic and nature (ecology)’ (Keetley and Wynn Sivils 2018 : 3). Moreover, although ‘femininity itself has been demonised in Gothic literature by way of the femme fatale , man

in EcoGothic gardens in the long nineteenth century
One Billion Rising, dance and gendered violence
Dana Mills

reading of political dance assumes that dance has a communicative power independent of other symbolic systems, it does not assume that power necessarily changes other political structures in the world. Indeed, this strong reading of political dance pauses on moments in which transgression occurs and inequalities and injustices in other symbolic systems become unravelled. Ensler and her followers assume an even stronger connection: they assume a direct causal link between reoccupying the body as a space through contracting into its systems of inscription and their

in Dance and politics