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truth, 4 tattoos denote a resistance to change (Salecl in Ahmed and Stacey, 2001 : loc. 959–71). This act of personal resistance and embodiment responds to postmodern and poststructuralist theories of self. Our original contribution to knowledge is to argue beyond the tattoo as a recurrent trope in crime and detective narratives and identify its self-reflective and subversive function within the genre itself. Too often the tattoo has been analysed as an uncomplicated representation of criminality, deviance or primitivism in crime and

in Tattoos in crime and detective narratives
Open Access (free)
British masculinities, pomophobia, and the post-nation

5 The Union and Jack: British masculinities, pomophobia, and the post-nation BERTHOLD SCHOENE Starting with a general theoretical investigation into nationalist imageries of masculine and feminine embodiment, this essay offers a tentative outline of some of the most problematic shifts in the conceptualisation and literary representation of man, self and nation in Britain throughout the twentieth century. The second part of the essay comprises a close reading of John Osborne’s Look Back in Anger (1993 [1956]), which is to illustrate the syndromic inextricability

in Across the margins

In the full-length treatment of the child in Spanish cinema, this book explores the ways that the cinematic child comes to represent 'prosthetic memory'. The cinematic children in the book retain traces of their mechanical origins: thus they are dolls, ventriloquists' dummies, cyborgs or automata. Moreover, by developing the monstrous undertones evoked by these mechanical traces (cinema such as 'Frankensteinian dream'), these films, in different ways, return repeatedly to a central motif. The central motif is the child's confrontation with a monster and, derivatively, the theme of the monstrous child. Through their obsessive recreation over time, the themes of the child and the monster and the monstrous child come to stand in metonymically for the confrontation of the self with the horrors of Spain's recent past. The book focuses on the cine religioso (religious cinema), in particular, Marcelino, pan y vino. The children of cine religioso appear like automata, programmed to love unconditionally an absent mother. The book then examines the Marisol's films from the 1960s and the way she was groomed by her creators to respond and engineer the economic and cultural changes of the consumerist Spain of the 1960s. It further deals with Victor Erice's El espiritu de la colmena and works through cinematic memories of this film in later works such as El laberinto del fauno, El orfanato and El espinazo del diablo. The films are seen to gesture towards the imaginary creation of a missing child.

Since the release of her debut feature, La ciénaga, in 2001, Argentine director Lucrecia Martel has gained worldwide recognition for her richly allusive, elliptical and sensorial film-making. The first monograph on her work, The Cinema of Lucrecia Martel analyses her three feature films, which also include La niña santa (2004) and La mujer sin cabeza (2008), alongside the unstudied short films Nueva Argirópolis (2010), Pescados (2010) and Muta (2011). It examines the place of Martel’s work within the experimental turn taken by Argentine cinema in the late 1990s and early 2000s, a trend of which Martel is often described as a major player, yet also explores correspondences between her work and other national and global filmmaking trends, including the horror genre, and classic Hollywood. It brings together the rich and diverse critical approaches which have been taken in the analysis of Martel’s work – including feminist and queer approaches, political readings and phenomenology – and proposes new ways of understanding her films, in particular through their figuring of desire as revolutionary, their use of the child’s perspective, and their address to the senses and perception, which it argues serve to renew cinematic language and thought.

of Mussolini in the closely fitting helmet 170 The cult of the Duce became ubiquitous from around 1938 and especially during the war. However, the best, and earliest, interpretations of this extreme martial iconography of the Duce came from the Futurists, who in the 1920s were already interested in a symbolic, graphic and often abstract interpretation of the Fascist leader as a futurist warrior-machine.38 Thayaht: the Duce as emblem of modernity The iconography of Mussolini as the embodiment of the modernity which the whole country was striving for is where one

in The cult of the Duce

Gothic in this tradition is the way the skeletons – the dead, the desubjectified, the dis-spirited – are joyous, playful and limber. Only the dead dance; only those on the far side of the living display life, as if the energies of human embodiment, expression and physical signification belonged properly to those ostensibly unable to signify in any active or purposeful way. And while these dead dance, the

in Queering the Gothic
Word and image in the twenty-first century. Envoi

dualism that still commonly connects the computational to the disembodied, placeless and formless, by espousing a ‘materialisation’ of digital culture via a reconfiguration of bodily experience and materiality.40 In her ground-breaking book Materializing 207 208 Mixed messages New Media, Munster argues for the need to radically challenge the appraisal of digital culture as one that has been shaped by binary logic stemming from outdated (and misapprehended) Cartesian schema, proposing instead an idea of embodiment that is ‘both sensate and virtual’.41 Aiming to

in Mixed messages
questions of the ordinary

enactment. This opened up new spaces of action, ‘articulating a second poetic geography on top of the geography of the literal, forbidden or permitted meaning’ (de Certeau 1984: 105). The embodiment and the enactment of everyday life Breaking with attempts to think of the social and cultural system as totalitarian and controlling, de Certeau’s The Practice of Everyday Life (1984) associated the everyday less with the ensemble of scripted human activities than with unpredictability and creative potential. Influenced by reflexive anthropology, de Certeau explored the

in Enduring violence
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Harold Godwinson, the last Anglo

borderlands became shifted, at the end of the eleventh century, to the Welsh alone. For Harold, after the arrival of the Normans in Britain, the Welsh are the embodiment of violence and danger in this region. Yet despite the fact that, in the legend of the Vita Haroldi, the Welsh are depicted as a people so violent that living among them can serve as a fitting penance for Harold, his extended presence in the Welsh borderlands in the final years of his life reveals that, even after the changes brought about by the Battle of Hastings, this territory was still viewed as a

in Writing the Welsh borderlands in Anglo-Saxon England

social scientists working on ageing who have begun turning their attention to related issues of identity, the ageing self and embodiment. Authors, mainly sociologists, have emphasised various perspectives: the extent to which agerelated identity can be said to be newly flexible compared to a previous fixity, particularly with the rise of consumer culture, commodification and lifestyle markets (Blaikie, 1999; Featherstone and Hepworth, 1989; Gilleard and Higgs, 2000; Katz, 2005); critiques of the ways in which gerontological knowledge and discourse shape the experience

in Ageing selves and everyday life in the North of England