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Class and Gender in Elizabeth Gaskell’s Work
Patsy Stoneman

invisible to most Gaskell critics, are ‘a species of mole as yet not recognised. When they awaken from among the dead, from among the words, from among the laws. . .’ (Cixous, in Marks and de Courtivron: 93). Coda: Ideology as Doom A text that was anathema to William and Elizabeth Gaskell was that ‘the sins of the fathers shall be visited upon the children’. It conceives God as a vengeful, not nurturing, Father, and denies the child’s right to selfdetermination. Many of Elizabeth Gaskell’s stories reject the obligation of children to suffer in silence their fathers

in Elizabeth Gaskell
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Mechthild Fend

Skin Ego [1985], trans. Chris Turner (New Haven; London: Yale University Press, 1989), p. 210. 4 Laura Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (Durham/N.C.; London: Duke University Press, 2000). 5 Elizabeth D. Harvey, ‘The touching organ: allegory, anatomy, and the Renaissance skin envelope’, in Elizabeth D. Harvey (ed.), Sensible Flesh: On Touch in Early Modern Culture (Philadelphia: University of Pennsylvania Press, 2003), pp. 81–102 (p. 85). 6 Jacques Derrida, ‘A silkworm of one’s own’, in Hélène Cixous and Jacques

in Fleshing out surfaces
Plant monsters as ecoGothic tropes; vampires and femmes fatales
Teresa Fitzpatrick

as British actress and suffragette, Cicely Hamilton. Hence, concerns about the increasing influence of these feminist and social movements on established gender roles are explored through Wells's orchid as a femme fatale figure. While Rebecca Stott ( 1992 ), drawing on feminist theories of Hélène Cixous and Luce Irigaray, Toril Moi and Julia Kristeva , positions the femme fatale as Other within the dichotomous perspective of idealised/vilified woman in the male imagination, Mario Praz ‘identifies the femme fatale as praying mantis, a

in EcoGothic gardens in the long nineteenth century
Adrian Millar

critical of his exclusion of the pre-Oedipal mother’s role in the construction of meaning and culture. Cixous, Irigaray and Derrida also build on Lacanian ideas without accepting all of Lacan’s insights. For a critique of the Saussurean approach, see Craig Brandist, The Bakhtin Circle: Philosophy, Culture and Politics (London: Pluto Press, 2002 ). For critiques of Lacanian

in Socio-ideological fantasy and the Northern Ireland conflict
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Elisabeth Bronfen

reproduces another uncanny return of the same, not only in respect to a lost woman but also in respect to her death, for the repression of which the mourner had turned to repetition in the first place. Indeed, Cixous argues, the uncanniness repetition provokes suggests that ‘death is never anything more than the disturbance of the limits’. The double enacts that if what has

in Over her dead body
Gender, the family and eroticism
Kate Ince

‘diagnosing’ madness in Christiane, readings of the end of the film (including Franju’s own) have repeated and reinforced the phallocentrism of the main part of its diegesis. Feminist critics of the 1970s, including Hélène Cixous, structured many of their analyses around the observation that in phallogocentric texts – literary, philosophical and other – the opposition of ‘male’ to female’ is homologous to other key binary

in Georges Franju
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Narrative, conspiracy, community
Douglas Morrey and Alison Smith

, Paris , Gallimard . Bory , J.-L. ( 1974 ), ‘La bande à Rivette’ , Le Nouvel Observateur , 25 March. Bozon , S. ( 1997 ), ‘Tout ce que les acteurs font 2 fois’ , La Lettre du cinéma , 2 , 42–5 . Caillois , R. ( 1964 ), Instincts et société: Essais de sociologie contemporaine , Paris , éditions Gonthier . Cixous , H. ( 1975 ), Un K incompréhensible: Pierre Goldman , Paris , Christian Bourgois . Debord , G. ( 1992

in Jacques Rivette
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Anne Sweeney

-annihilated individual who finds a new autonomy behind what had been a false face. Magdalen the whore, Joseph the cuckold, both reconstituted themselves by effacing their egos and giving themselves up to love – which in turn redefines them as lovable. Southwell submits them only to a metaphorical martyrdom; as Hélène Cixous said, the recreative, recombinative action of metaphor is the only possible voice of the

in Robert Southwell
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Telling autoethnographic stories
Ronit Lentin

the dispossessed Palestinians with the perpetrators’ story, allowing me to focus on the story of the 1948 war in Haifa and my father’s part in it. My autoethnographic approach, which tells, as Cixous (1997) puts it, one story in place of another story, is part of my search for clues as to what led me to a lifetime of opposition to Israeli state policies. Most anti-Zionist Israeli Jews have their ‘road to Damascus’ tale, as to when the penny dropped, usually in the wake of the 1967 war, or the 1982 Lebanon war (as discussed in Chapter 5). The story told in this

in Co-memory and melancholia
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Sarah Lonsdale

’s surprise that, on overhearing her speak to a ‘Bobbie’ she can actually speak English ‘as though it belonged / To you’, indicates that despite the apparent friendliness she is both patronising and affronted by the girl’s use of the imperial language. The question locates the point of conflict at that juncture where speaking, writing, oppression and language meet, and foreshadows French feminist Hélène Cixous’s commentary of fifty years later that ‘Woman must put herself into the text – as into the world and into history.’ 129 The poem thus speaks volumes for the years

in Rebel women between the wars