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readings, especially of No Fixed Address . One of the implications of women-as-verbs in gothic texts is a change in texture: from romance to ‘interrogative text’. Interrogativity: romantic love and female desire Gothic texture relies on romance conventions concerning flamboyant villains, harmless lovers and wildly distressed heroines. The ‘maiden

in Gothic Forms of Feminine Fictions

sex must be associated with sin and suffering, with a masochistic submission to men. Each film charts a woman’s journey toward fulfilment of her desire, which is ultimately not for degradation of the flesh but for integration of body and soul. To achieve this goal, each woman goes in search of the ideal male partner who values both sex and sentiment. The pressbook for Tapage nocturne describes the film as ‘une histoire d’Amours vécue comme aujourd’hui et racontée comme aujourd’hui. Avec impudence’1 (Axe Films). The movie’s twentysomething heroine, Solange, tells the

in Catherine Breillat

itself, and characterizes that shamefastness as suspect. This passage is part of a longer episode in which Lydgate expands significantly upon his source text by playing upon the literary tropes of courtly erotic desire, which would have love ultimately triumph over obstacles such as jealousy, fear, or, in this case, shamefastness. According to these conventions, qualities like shamefastness are a (male) lover's worst enemies, and the worst enemies of love itself, an idea that is reinforced by the adversarial relationship between personifications of

in Practising shame
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conflict has security as its goal. In such contexts the leitmotif ‘If we do not dominate, we will be dominated’ is created by astute propagandists and political manipulation, which all play on the presence of an enemy and the desire for survival. 2 For Lederach peace-building is about transforming ‘conflict towards more sustainable, peaceful relationships’. 3

in Socio-ideological fantasy and the Northern Ireland conflict
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Horror, ambivalence, femininity

’amour est un oiseau rebelle’ (Henri Meilhac and Ludovic Halévy)1 Good and evil, the beautiful and the ugly, saintliness and desire: these are the dichotomies upon which La niña santa meditates, the social and cultural categories which it seeks to blur. These are the questions which obsess its young female characters, and especially its teenage protagonist Amalia (María Alche), as she attempts to recon­ cile her Catholic teachings with sexual desire. In La niña santa, it is in particular the ideological conditions established by Catholicism – and their close relationship

in The cinema of Lucrecia Martel
Carter’s ambivalent cinematic fiction and the problem of proximity

, Carter says that she ‘fell in love with cinema’, and not just its towering images, but also the ‘dream cathedral of voluptuous thirties wish-fulfilment architecture’ with its ‘mix of the real and false’ (2013f: 488–9). She claimed that her favourite film was Marcel Carné’s Les Enfants du Paradis (1945), which produced in her a deep desire to ‘jump through the screen […] and live there, in a state of luminous anguish’ (Jackson, 1986).1 In the Omnibus documentary made during the last year of her life, she even claimed that there was ‘something sacred about the cinema

in The arts of Angela Carter
Faustian bargains and gothic filigree

expression of desire and bodily transcendence, an appetite to transcend the banal in pursuit of the extraordinary. The pursuit of this transcendental experience operates as a gateway into the gothic, through which a profound sense of unease, disorientation, and encroaching darkness is expressed. Barker oscillates between genres (horror and fantasy) and modes (the gothic), between

in Clive Barker

feminine beauty, she is explicitly transformed into an object designed to arouse Alec’s erotic desire. The duplicity her parents embark on is that on a literal level they send her beautiful body as an ostensible sign to testify to their blood kinship, but in fact rely on transforming her into a sign of seductive womanliness. Her mother deviously dresses Tess with a pink ribbon

in Over her dead body

queer exteriors and some queer ways, but they are fine with me.’24 The tendency to post material on bulletin boards that a modern readership might identify as propagandist offers further evidence of Stimson’s traditionalist perspective. The fact that she did not question the motives of the allies undoubtedly contributed to her strong and authoritative persona. Stimson’s ability to command the respect and affection of her staff and to sustain morale was clearly one of her strengths. But her involvement with them went much further than a desire to control their

in Nurse Writers of the Great War
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French, we are not from other nations, we are British – thank God.2 While Montgomery could not slow the momentum of change to civilian law nor shake off the rumours that he himself desired other men, his concerns were at least shared by policymakers within the armed forces.3 Military chiefs and the Wolfenden Committee agreed that decriminalising homosexual acts in the forces would affect discipline and threaten the safety of low-­ranking servicemen.4 As a result, they remained punishable by military law even though they ceased to be illegal between consenting civilian

in Queen and country