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The origins of the strike
Jim Phillips

workers.6 It is important to reiterate, however, that these processes were managed within the terms of the moral economy of the Scottish coalfields: changes, including closures, were generally undertaken with the agreement of union representatives, and economic security was guaranteed for displaced miners, either through transfers to other pits, or with the availability of work elsewhere in the economy. Wheeler’s approach, by contrast, transgressed this moral economy: closures from 1982 were driven through against the opposition of NUMSA and SCEBTA; he wanted, indeed

in Collieries, communities and the miners’ strike in Scotland, 1984–85
Michael John Law

sexual transgression.5 The roadhouse was a product of and contributor to distinctive forms of suburban modernity, reliant on the new highways and electric power and lighting to make a new site for leisure, marked by distinctively new cultural and social practices. Yet, like other facets of interwar modernity, there were also efforts to connect with a longer history of Englishness, most obviously in the adoption of ‘Olde English’ architectural forms.6 Contemporary commentators, who increasingly conflated the modern with the United States, often treated the roadhouse as

in The experience of suburban modernity
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Urban hieroglyphics, patternings and tattoos in Edgar Allan Poe’s ‘The tell-tale heart’ and Herman Melville’s Moby-Dick; Or, the whale
Spencer Jordan

detective fiction, at least in part, was a means of exploring these anxieties. Yet crucially Poe is intent on showing both the extent but also the limits of this transformation. As Martel reminds us, ‘Poe, perhaps more than any other writer of his time, was able to expose these changes as merely “representation” with no inherent meaning, or objectivised reality, beneath it’ (Martel 2011 ). It is here that we find the transgressive nature of these patternings within crime and detective fiction, their existence as nothing more than delusions within the phantasmagoria, ‘the

in Tattoos in crime and detective narratives
Angela Carter’s werewolves in historical perspective
Willem de Blécourt

or by another’s, and it has contaminated them, exiled them. 40 Significantly, there is a similar transgression in the other main incest story cluster: the Maiden Without Hands, where the father-daughter union is first consummated and later avoided. Medieval literary werewolves, often interpreted as

in She-wolf
The Older People’s Uprising, 2008
Rosie Meade

. It is not a definitive analysis: it cannot capture the personal significance of this ‘event’ for individual participants; it offers no insights into the advance organisational work by activists and NGOs that advocate with and for older people; and it is guarded in its assessment of the Uprising’s overall achievements. Instead, I analyse the forms that resistance took and the extent to which it transgressed or reinforced the clientelist norms of political engagement in Ireland. More specifically, I interpret the Uprising’s political and ethical significance with

in Defining events
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Michael Haneke’s Funny Games and globalisation’s new uncanny
Barry Murnane

warning issued by Fred Botting, that ‘beyond transgression, all the paraphernalia of gothic modernity change: the uncanny is not where it used to be’ ( 2007 : 200). The implication here is that the transgressive role previously attributed to the gothic has become redundant in a society which no longer requires fictional ghosts, doubles, monsters and vampires because, firstly, the technical, medial and

in Globalgothic
Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison

mistreated by her stepmother. In her 1831 Introduction, Shelley rhetorically yoked Victor’s scientific creativity and her own liberating act of literary creation. Connecting this rhetoric to her culture’s perspective on intellectual women as monstrous – a trope employed in relation to her feminist mother, Mary Wollstonecraft Godwin, whom Horace Walpole denounced as an unnatural ‘hyena in petticoats’ (397) – Shelley portrayed Scotland, and more specifically the outlying Orkney Islands, as a monstrous matrix of transgressive female power, intellectual authority, and

in Adapting Frankenstein
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Towards an intimate history of special schools for the blind
Fred Reid

education in their schools, the repressive rules and the adverse effect all this had on their subsequent lives. Understandably, these observations are brief and go little beyond matters of fact. On the whole they confirm the key aspects of my own experience: absence of formal sex education, repression of sexual relationships and severe punishment of transgression. Inevitably, however, the testimonies do not reflect on the reasons for such a regime and French has nothing to say on such questions. I wrote my novella, The Panopticon , to fill this gap

in Disability and the Victorians
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Bruce Woodcock

won three of the major Australian literary prizes and was shortlisted for the British Booker Prize. Illywhacker examines twentieth-century Australian history with the savage humour and fantasy of the earlier fiction now placed within an epic framework. The result is a novel with energy, panache and sardonic vision, which mixes family history with satirical fable and fantasy in an abundance of play and arraignment. Like Bliss, Illywhacker transgresses and undermines presumptions of formal continuity and genre coherence: it both entertains

in Peter Carey
Ory Bartal

. This discourse of otherness establishes itself insidiously, through a fetishistic relationship formed between the user and the irregular objects, at the heart of hegemony – in the ‘living room’ of the collector, who is traditionally a person of a certain status and power. In order to present this ‘otherness’ in objects, Hironen adopted a transgressive visual strategy derived from two different sources that offered deviant erotica, the grotesque and ridiculous figures: the first was camp visual expression, rooted in the queer theory of the postmodern ‘other’. The

in Critical design in Japan