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general rule in that a legitimate claim could be made that the post-Wende Golzow films are providing a record of how a society comes to terms with such an epoch-making occurrence. Once again, however, there is relatively little discussion of the leadup to and the aftermath of these events. The focus is on revealing how individuals are adjusting to living under a new political system, how some of them are coming to terms with their sense of quite considerable disorientation and how all of them, in both a professional and personal sense, are having to build their lives

in Taking the long view
Open Access (free)
Identities in crisis in the early novels of Marie Darrieussecq

’s grasp of water, particularly in its destructive capacity, is Durassian and this eerily somnolent off-season resort is perhaps the most strange and terrifying of all her frontier places. This becomes clear from the novel’s opening Identities in crisis in Darrieussecq’s early novels  sentence – a powerfully anthropomorphic evocation of the Atlantic as seen for the first time by a disorientated little girl: ‘C’est une bouche à demi ouverte, qui respire, mais les yeux, le nez, le menton ne sont plus là. C’est une bouche plus grande que toutes les bouches imaginables

in Women’s writing in contemporary France
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The frayed edges of the spectacle

have also argued here, by new hybrid media technologies. The sheer volume of images, information and 160 An ethnography of NGO practice in India opinions they produce is simply too much for the average citizen to comprehend and fact-check. Is it any wonder then that voters succumb to arresting narratives, rhetoric and emotions? The kinds of fragmentations that I have discussed above are not mere metaphors; they are real and visceral consequences propelled by a mass-media culture so pervasive and disorientating that it pushes us to seek out new nostalgias: ‘Trump

in An ethnography of NGO practice in India
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merely describing, so that we probably feel that we know where we are, and what the topic is, rather more so, perhaps, than in the case of the average poem. Durcan’s poem shows how misleading this assumption sometimes is, and how dislocating and disorientating an ekphrastic poem can be when it lacks its traditional descriptive opening phase. In my piece on ekphrasis in Literature in Contexts I attempted a classification of the many different types that can be identified, drawing on the work of earlier critics. The basic types identified by John Hollander are actual

in Reading poetry
The broken body and the shining body

sexual wound. A second hallmark of the masochistic aesthetic is a cold disavowal of the fleshly weight of the body: indeed, Leopold von Sacher-Masoch, the author whose masochistic fantasies gave masochism its name, repeatedly mistakes his lover for a marble statue, a disorientation that Bella Swan shares. 13 She tells us repeatedly that Edward’s skin is like marble, his lips like stone, so cold to the

in Open Graves, Open Minds
Open Access (free)

up Vesey to the Memorial EDKINS 9781526119032 PRINT.indd 119 22/02/2019 08:34 120 change and the politics of certainty Preview Site on the corner with Church Street – where people are directed to go to purchase their visitor passes. It was early in the morning, so not crowded. I looked inside briefly, then walked along Church and down Liberty to the corner with Greenfield Street that overlooks the memorial plaza: the place I had stood on my first visit earlier in the week, disorientated and disturbed as I had been then. I could see people already circulating

in Change and the politics of certainty

Christian symbolism and arcane imagery (especially reminiscent of a poet like W. B. Yeats) and its sense of ‘the hate and hunger, the desire and the despair’ (like T. S. Eliot). In addition, the play develops an apocalyptic sense of sound, with atomic bombs, speeded-up laughter or voices counting numbers, into which cacophony a balance is struck between the comic (‘chipmunk’ voices) and the disorientating

in Listen in terror
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Encountering the monstrous in American cinema

alienation in his films, referring to Freud’s The Uncanny : ‘He [Freud] … talks about not being able to orient yourself back home, which is one of my themes – you can never go home. That’s what the uncanny means – that you’re basically disoriented from your home and yourself.’ 17 This feeling of the uncanny, or disorientation from the familiar, is a traditional element of the Gothic genre

in Ecogothic
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: Money Never Sleeps and Savages also asked moral questions, but locating their respective targets –​the failure to grasp any legal oversight facility with regards to financial institutions, and the disorientated, apolitical lifestyle of certain sections of American society –​appeared trickier. The absence of real polemic in these films is something that Stone himself has admitted to, and it was one of the reasons he threw himself more steadfastly into documentary work during the 2000s. The move into documentary reflected a further authorial change. The distinctive editing

in The cinema of Oliver Stone
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government’s attitudes vis-à-vis print and publicity. The war raised the visibility of India in London, with newspapers devoting significantly more attention to its problems and future, while domestic political and economic disorientation following the war rendered the public response to imperial policy more uncertain. These developments needed to be addressed and countered in

in Reporting the Raj