Abstract only
Artist and critic meet in the mirror

acts and actors go to work. Part of my immediate attachment to the text derives from its depiction of the desiring, desired, aging female subject (and the temporarily objectified male). Here, however, I am focused on the effects the play’s dramaturgy has on my conviction that thinking is doing and doing, thinking.2 More, playwright and audience are tightly coupled, locked in a mutually reflective embrace. This text calls me to attend to my own practice as a creative responder, sometimes called ‘critic’. If artists are implicated in the making of the world, in the

in Howard Barker’s Art of Theatre
Auteurism, politics, landscape and memory

This book is a collection of essays that offers a new lens through which to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The films analysed span a period of some 40 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. The book offers a new lens to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The figure of the auteur jostles for attention alongside other features of film, ranging from genre, intertexuality and ethics, to filmic language and aesthetics. At the heart of this project lies an examination of the ways in which established auteurs and younger generations of filmmakers have harnessed cinematic language towards a commentary on the nation-state and the politics of historical and cultural memory. The films discussed in the book encompass different genres, both popular and more select arthouse fare, and are made in different languages: English, Basque, Castilian, Catalan, and French. Regarded universally as a classic of Spanish arthouse cinema, El espíritu de la colmena/The Spirit of the Beehive has attracted a wealth of critical attention which has focused on political, historical, psychological and formal aspects of Víctor Erice's co-authored film-text. Luis Bunuel's Cet obscur objet du désir/That Obscure Object of Desire, Catalan filmmaker Ventura Pons' Ocana. Retrat Intermitent/Ocana. An Intermittent Portrait, Francisco Franco's El Dorado, Víctor Erice's El sol del membrillo/The Quince Tree Sun, and Julio Medem's Vacas/Cows are some films that are discussed.

Open Access (free)

inevitability of a lack or an excess – in other words, the impossibility of certainty – does not mean abandoning hope, or giving up on dreams altogether. EDKINS 9781526119032 PRINT.indd 214 22/02/2019 08:35 conclusion 215 A problem arises, Lauren Berlant tells us, when what we are holding on to, what we desire, is actually what is holding us back. She points to the example of a violent relationship, where we know it is doing us harm, destroying us even, but yet we cannot give up on it – because we cannot see ourselves surviving without it. She calls this ‘cruel

in Change and the politics of certainty
Open Access (free)
Individuals acting together

does not get some overbalancing good from his sacrifice, and no one is entitled to force this upon him. 22 According to the doctrine, it is particularly important to bundle together the desires of a single individual. By contrast, no special importance attaches to a bundle which represents the desires of different individuals for the same end. That explains why the doctrine is invoked to

in Political concepts

) kisses Leonora (Margaret Leighton) for the first time, with this taking place just inside the front door of Leonora’s house. The camera looks down upon the lovers through the banisters of the first floor landing. This set-up puts the audience at a distance from the lovers and compositionally puts the lovers themselves behind bars, trapped by the very desire which they think will free them. Exactly the same camera set-up is repeated twice

in Terence Fisher
Adaptation and reception of Andrea Newman’s A Bouquet of Barbed Wire (1969)

viewers over its three episodes. 2 The furore surrounding London Weekend Television’s (LWT) 1976 production centred on Peter Manson’s (played by Frank Finlay) apparently incestuous desire for his nineteen-year-old daughter, Prue (played by Susan Penhaligon), with whom he seems obsessed. Aside from Manson’s displays of jealousy towards Prue’s husband, the drama’s portrayal of sadomasochism and infidelity

in Incest in contemporary literature
Abstract only
Scopophobia in Renaissance texts
Elisabeth Bronfen and Beate Neumeier

divided into four parts, and the same quarters be placed where the Lord the King may be pleased to appoint’ (Jeaffreson 2: 7–8). Protracted torture and execution occurred at the king’s pleasure: coining hearts and minds, especially for sexual purposes, merited less harsh measures. Sixteenth-century susceptibilities to desire and death were, it seems, never entirely separable, and

in Gothic Renaissance
Gothic and the perverse father of queer enjoyment

late-Victorian myth that have amplified the play of queer desires between, say, the Count and a jejune Jonathan Harker, or between the three infernal sisters and Lucy Westenra. The suave advances of Bela Lugosi in Tod Browning’s classic Dracula (1931) would play themselves out in the more self-consciously queer filmic contexts of Fright Night (Dir. Tom Holland, USA, 1985) and Razor Blade

in Queering the Gothic
Emily and Arcite in A Midsummer Night’s Dream

he sees Lucina, Diana’s other self, the goddess of childbirth, protector of women in travail (I.2055–85). The Knight fills a silence in Teseida with the desire for chastity and with desire between women which excludes men; a desire stated in emphatically in Emelye’s prayer to the ‘chaste goddesse of the wodes grene’ (I.2297): Desire to ben a mayden al my lyf, Ne nevere wol I be no love ne wyf. I am, thow woost, yet of thy compaignye, A mayde, and love huntynge and venerye, And for to walken in the wodes wilde, And noght to ben a wyf and be with childe. Noght wol

in Transporting Chaucer
Open Access (free)
Incest and beyond

scientific insights. The interdisciplinary approach enables readings that expose the ways in which different incestuous relationships engage with eighteenth-century concerns over family, social obligation, individual rights, inheritance laws and desire. The fruits of this broad methodology are evidenced through recent works on the Gothic such as Diana Wallace and Andrew Smith’s The Female Gothic: New

in Gothic incest