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Fred Botting

to discover what it contains. Prohibition, the story makes all-too plain, leads inexorably to transgression. While the heroine only belatedly realises the logic, its inevitability has already been heavily marked by the tale. It is, however, a false prohibition in that the villain wants her, counts on her, to transgress. Not only will she, in horror, discover her fate, her transgression will permit, perversely

in Limits of horror
The Datchet Diamonds
Victoria Margree

certain scholarly notions about crime writing and crime readers in the period. Marsh and crime writing: villains, transgressors and readers Marsh’s crime fiction evinces a perhaps greater interest in the commission of crime than in its detection. As Johan Höglund has noted, ‘Marsh likes his villains’ and is usually more interested in them than in the detective’s pursuit of the criminal.4 Although Marsh’s oeuvre does contain instances in which it is detection that drives the narrative (for example, the Judith Lee stories, or The Mystery of Philip Bennion’s Death; see

in Richard Marsh, popular fiction and literary culture, 1890–1915
The portrayal of tattoos in Sarah Hall’s The electric Michelangelo and Alan Kent’s Voodoo pilchard
Hywel Dix

social scientists to investigate tattoos as a ‘nondeviant, mainstream phenomenon’, as if tattoos and the social practice of tattooing were ipso facto socially non-normative phenomena ( ibid. ). Although Matt Lodder has questioned the assumption that tattooing is inherently transgressive (Lodder 2011 : 104), contemporary mainstream culture has yet to fully claim tattoos, which Roberts found are still associated with ‘low cultural standing’ (Roberts 2012 : 158). He concluded that the so-called tattoo renaissance of recent decades has been characterised by gradual

in Tattoos in crime and detective narratives
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The coronation of Louis XVI, 11 June 1775
Anne Byrne

questions for our understanding of royal ritual. While ritual is generally perceived as a sequence of intentional gestures within a fairly fixed ceremonial framework,89 here we have examples of gestures which were not planned, which interrupted an important ceremony, and which were universally admired. These apparently transgressive tears served as a seal of approval on the ceremony, proof of its effectiveness in uniting the king with his people.90 Participants’ records of the event have demonstrated the suffusion of the ceremony with sentiment, the triumph of the

in Death and the crown
Abstract only
Martine Beugnet

transgression – have become an intrinsic part of a specific stylistic approach, unrestricted by categorisations, genres and established conventions. Working in a team with a set of long-standing collaborators, technicians and actors, Denis creates hybrid works that draw on literature as well as dance, music, photography and painting – films that rely on the power of images and sound in themselves rather than on tightly scripted

in Claire Denis
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Queering the Gothic
William Hughes and Andrew Smith

’s highly personal 1998 definition of the relationship between a queer sexuality and a broader and more pervasive heteronormative queerness may be seen as highly relevant to the Gothic’s own exemplification of unorthodox or transgressive identities and practices. For Stryker, to be queer is to be different but not necessarily to be isolated. The sexual queer is, in fact, but one of many parallel identities

in Queering the Gothic
Open Access (free)
Nuns’ narratives in early modern Venice
Mary Laven

nights that Cocco stayed in the nunnery, he had intercourse with me.’9 This rich piece of firstperson testimony, laden with autobiographical and cultural detail, was spoken in the vernacular. Laura Querini was on trial for her transgressions, yet she seems to have been determined to confess the full enormity of her errors. The drama of the unfolding narrative, and the highly personal nature of Laura’s revelations, make for compelling reading. It is qualities such as these which have made trial records a favourite source among social and cultural historians – early

in Judicial tribunals in England and Europe, 1200–1700
Tom Whittaker

resistance and transgression, and a crucial means of articulating their visibility in a geography that excluded them, and rendered them invisible. Although it was one of the most popular and enduring genres of the Transition, cine quinqui has received very little critical attention outside Spain. 3 Its iconography is well known: real-life delinquent actors, exciting cat-and-mouse car chases

in Screening songs in Hispanic and Lusophone cinema
Open Access (free)
Behind the screen
Chloe Porter

This book has suggested that early modern playwrights are preoccupied with processes of making, unmaking and remaking in light of the transgressive implications of ‘finish’. The resulting emphasis on unfinished processes of construction in plays speaks strongly to the notion of early modern drama as ‘an art of incompletion: a form of display that flaunts the limits of

in Making and unmaking in early modern English drama
Representation and the real in the twentieth-century avant-gardes
Liz Tomlin

conflicting ideological discourses that have always surrounded the attempts of the historical and neo-avant-gardes to make art which was radical and oppositional can offer us vital insight into the subsequent ideological ambiguities that underpin the practices and discourses at the turn of the twenty-first century, and so will now be explored in some detail. Transgression or complicity? In his 1960s study of the historical avant-garde, Renato Poggioli argues that early uses of the term pre-dating the French Revolution, ‘demonstrate Representation and the real in the

in Acts and apparitions