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John Yamamoto-Wilson

romance of John Crowne, the satire of Robert Greene and Thomas Nashe, a novella by Matteo Bandello, and the writings of Aphra Behn and Mary Wroth. By focusing on the tropes of the captivating female gaze and eyes like the sun that set men aflame with desire and turn them blind, this chapter charts the discursive evolution of the transgressive woman and the foolish man and highlights the male anxiety generated by the female Other. Among the interpretative tools used are the idea of the theatricality of self-humiliation, drawing largely on the psychoanalytical writings of

in The hurt(ful) body
The strength of chosen family in Elizabeth Gaskell’s Gothic short fiction
Ardel Haefele-Thomas

concerned; however, the crossings are still limited in that Hester chooses to remain in the decayed aristocratic mansion in order to mother Rosamond. It is a price she must pay to maintain the Gothic kinship, that which challenges the primacy of biological ties. Nine years after the publication of her classic ghost story, Gaskell returned to the theme of boundary transgressions as she took up her pen to again

in Gothic kinship
Haunting and community
Deborah Martin

the house, Vero sits and listens to Josefina: ‘No sé de dónde saca esa gente, todo el día machoneando con esa moto’ (‘I don’t know where she finds these people … messing about with that bike all day like a bunch of dykes’). Candita’s body – site of queer abjection, of becoming, of transgressive materiality – is pushed outside, to the boundaries of what is liveable and thinkable, to the edge of the frame, to join the ghostly realm of abject bodies – servants, the poor, the ‘leidis’ – always hovering at the film’s visual periphery. At 98 The cinema of Lucrecia

in The cinema of Lucrecia Martel
Romanticism and Gothic suicide
Lisa Vargo

If the Romantic Gothic hero is typically defined by his or her marginalisation from society and its norms and is characterised by excess, individualism and transgression, the ultimate act of defiance is self-annihilation. Romantic literature’s dark side to a preoccupation with individuality and subjectivity is the extinction of the self. Given its associations with a longstanding interest in what has been characterised as ‘the Romantic agony’, it is perhaps surprising that suicide is not treated as a topic distinct from death in the

in Suicide and the Gothic
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Character depiction and direct discourse
Eva von Contzen

follow the conduct book’s advice. The female saints in the Scottish Legendary, in their debates with the pagan rulers, deliberately and audaciously overstep all borders of appropriate, lady-like conversational behaviour:  they do not hold their tongues, they talk back, they insult, they voice their thoughts, and they do so openly and to a social superior. The fact that in the Scottish Legendary these passages are fleshed out raises the question why the poet saw fit to put special emphasis on such transgressive behaviour. The genre conventions of hagiography clearly

in The Scottish Legendary
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A nineteenth-century Hellene?
Charlotte Ribeyrol

of Swinburne’s Hellenism but its relation to the more official and orthodox Victorian ‘hellenomania’ (Bernal 1987 ). I wish to explore Swinburne’s liminal and transgressive excursions into marginal Hellenic territories, often obscured by the exclusively Olympian vision of Greece extolled by most Victorians in their quest for secure ideological foundations. In the nineteenth century ancient Greece was a Western utopia to which

in Algernon Charles Swinburne
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A history of Latin American women filmmakers
Patricia Torres San Martín

against structures aimed at granting them only a subordinate status. Consequently, this historical recapitulation highlights the social role of women filmmakers and acknowledges their position in the public sphere. Rather than viewing women through the prism of exclusion, or at best their marginal status, we must recognise women filmmakers as social and cultural transgressive subjects who created a social agency for their

in Hispanic and Lusophone women filmmakers
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A counterfactual ghost story
Damian Walford Davies

conventional, sentimental, mannered and melodramatic, hiding as much as they seductively reveal. In this they may be seen as counterfactual, echoing the subversive, slippery countervoice that characterises Thelwall’s famous seditious allegories of the 1790s, which both invite and frustrate simple, factual interpretation, instead spinning out multiple self-cancelling meanings that refuse to be pinned down.19 However, whereas Thelwall’s seditious allegories were political in their aim and action, the transgressive truths that the later poems at once disclose and evade are more

in Counterfactual Romanticism
Open Access (free)
Syrian displacement and care in contemporary Beirut
Ella Parry- Davies

perceptual coordinates offered by performance, which emphasise the actions and processes that have enabled and conditioned their production. A focus on performance thus attends to the social and aesthetic care that the images perform and depend upon. This propels my problematisation of a historical tendency in some performance theory to associate migration with liminality, and with transgressing the interdependency of living-as-usual. In this chapter, I argue that to perform scholarship ‘care-fully’ (Thompson, 2015 : 438), by recognising the specificities and complexities

in Performing care
Ménilmontant, Le Sang des bêtes, Colloque de chiens
Erik Bullot

cinema history. All three films transgress the genres on which they draw. Ménilmontant reconciles a relatively audacious and free avant-garde technique with the codes of melodrama; the style of Le Sang des bêtes – defined by Franju as ‘aesthetic realism’ – arises from an encounter between documentary and the fantastique; finally, the humorous, distanced mood of Colloque de chiens, drawing on romance magazines, is the result of the ‘laying bare of the device’ by which the Russian Formalists defined parody (Shklovskii 1993: 147–70). The filmmakers’ careers are just as

in Screening the Paris suburbs