society. Even if the clan elites had new commercial assumptions and priorities, the people still clung to the principles of duthchas in which the landlord had a basic duty as protector and the guarantee of land possession was central to this role. Not only, therefore, was the scale of removal greater and faster in the Highlands, but the cultural trauma of dispossession by ‘landlord-protectors’ was much more devastating for the people. It is hardly surprising that the relentless violation of the values of clanship caused enormous collective disorientation throughout the

in Clanship to crofters’ war
W. G. Sebald’s Die Ausgewanderten

overwhelming disorientation faced with the demands of modern life and the senseless violence of the First World War. Following this, he retreats into the service of the Solomon 98 4003 Baxter-A literature:Layout 1 9/9/13 13:02 Page 99 W. G. Sebald’s Die Ausgewanderten parents, who themselves spend the years of the Second World War in complete seclusion. Great Uncle Ambros (the only emigrant related to the narrator) closes his eyes to the electroconvulsive treatment which awaits him. And, as if to distract the gaze of others from the outwards signs of his internal

in A literature of restitution
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A queer and cartographic exploration of the Palestinian diaspora in Randa Jarrar’s A Map of Home (2008) and Him, Me, Muhammad Ali (2016)

, the double orientation in Jarrar’s work ultimately complicates its effect. As she intimates: ‘One of my hopes as I was writing [ A Map of Home ] was for its audience to be both Arab and non-Arab; for it to work with both camps’ (Albakry and Siler, 2012 , p. 119). Jarrar’s writing is simultaneously meant to ring familiar to Arab readers, to disorientate both Arab and non-Arab readers unfamiliar with issues of sexual dissidence, and to generate readerly empathy for the queer Muslim diasporic subject of Palestinian heritage. It needs to be

in Queer Muslim diasporas in contemporary literature and film

disorientation of the viewer, who was used to visual representations with a single perspective viewpoint. This immediate combination of surprise and disorientation, however, would soon give way to a gratifying sense of full visual control. To begin with, the viewer was provided with the illusion of being placed on a commanding vantage point. Usually, panoramic views were taken from elevations like hilltops or towers which gave visitors the ‘thrill of seeing the entire circle of the horizon’, of complete control over a 360-​degree view.21 That Barker intended to provide such a

in The challenge of the sublime
Movement as emotion in John Lyly

audience member will find ‘a thread to lead you out of the doubts’ caused by these disorientating movements. Despite the play’s engagement with controversial issues and its epilogue’s expectation of audience confusion, Lyly scholars have tended to read Lyly’s work as politically and aesthetically straightforward. Leah Scragg aptly describes R. Warwick Bond as ‘[l]ocked into an

in The Renaissance of emotion

has staged an oedipal rejection of father and fatherland in order that he might be fully assimilated, all difference erased, into the new homeland of Britain. On the other hand, the narrative gives us Gibreel Farishta, engaged in a grander oedipal battle with God, who arrives on Hastings beach like William of Normandy, intent on some reverse colonisation, and enters into a disorientating battle with his host culture that culminates with his blowing a trumpet to bring down the city’s walls during a fictionalised version of the Brixton and Southall riots (both of

in Salman Rushdie
Towards a critical turn?

) once claimed, ‘we are travelling without maps’. Indeed, for Simon Dalby, the intellectual disorientation in North America about the future order is compellingly illustrated in various striking claims from ‘clash of civilizations’ by Samuel Huntington to ‘a new geopolitical game in the global chessboard’ by Zbigniew Brzezinski, ‘the coming anarchy

in Critical Security in the Asia-Pacific
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High epic style and politicising camp

feminine. She shows that there is more space between feminine and masculine gendered identities than we might think; there is space for more, for a greater range of gendered identities. She signifies the fluidity of sexual characteristics because she holds them together in one performance. As such she disorientates. The female androgyne does not simply dress as a man. She performs androgyny – an in

in The films of Luc Besson
Locating the globalgothic

soucouyant, always specifically gendered and refers to a female demon who copulates with a man while he is asleep. A succubus, then, is the female form of the ‘incubus’, which in medieval Latin referred to a sexually threatening male demon or something causing mental distress, confusion or disorientation, such as a nightmare. Such references to mental distress and disorientation are significant for

in Globalgothic
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Horror and the avant-garde in the cinema of Ken Jacobs

down a bottomless rabbit hole into a bewildering perceptual wonderland where previous understandings of space and time no longer apply. In making film new and strange again, Jacobs harks back to the disorientation Victorians might have felt the first time they rode on a train, listened to a disembodied voice on the telephone, or first viewed ‘moving pictures’. Jacobs

in Monstrous adaptations