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scandals concerning missing children in the Spanish press. Chapter 4 18 The child in Spanish cinema explores ­adolescent embodiment through touch and fantasy and returns the spectator to the powerlessness of childhood. It also examines violence and oppressive religion as legacies of Francoism in two recent Spanish films, El Bola and Camino. Repeatedly, then, Spanish cinema animates the child on screen and in doing so brings alive periods of Spanish history as prosthetic memories. As Spain emerges from a period of cultural amnesia towards remembrance, cinema has an

in The child in Spanish cinema
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beyond the screen, and as an iconic embodiment of the playboy fantasy ideal that was being readily imagined. Bond on the big screen Prior to November 1965, Playboy had made only a few direct mentions of the Bond films, having focused mainly on developing a relationship with Fleming and the literary Bond. To begin with, in May 1963, the response from ‘Playboy After Hours’ to Dr No’s (1962) release in America was less than enthusiastic. The opening of the review was decidedly 58 The Connery Bond unpromising: ‘James Bond, the secret agent whose international affairs

in The playboy and James Bond

whether the Guthlac A-poet was familiar with Felix’s text remains unanswered,39 it has been recognised that this poem departs from the core elements of this saint’s legend,40 becoming largely a description of an extended battle for the beorg. Most recently, postcolonial critics have understood Guthlac’s legend as reflecting a nascent sense of Anglo-Saxon colonial aspiration, with the Mercian saint a successful embodiment of Anglo-Saxon land conquest over native British resistance. Guthlac A has been read as ‘suffused with colonial desires’,41 and its landscape

in Writing the Welsh borderlands in Anglo-Saxon England
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‘The prerogative of the wig’

. This process of embodiment of social hierarchies by ‘the law’ enables both its culture and the capacity of individuals to receive justice from it. As discussed in the introduction, this argument relies on the fact that the law is representational until it is practised, with performances of the law giving flesh to power. It is professional men, like Freeman in the opening example, who are central to the production of legal culture. Disputes over conduct between lawyers are therefore not incidental to the law, but produce the law as masculine, even gentlemanly. Yet

in Men on trial
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visible embodiments of same-­sex desire in the services. Although they undoubtedly sat on the peripheries of martial culture, many were able to survive and even flourish. This section of the chapter will explore the experiences of these men and women and the dynamics of the relationships that they forged with their peers. •  85  • queen and country The story of John, a queer man who served in the Army, epitomises just how positively openly queer men and women could be treated. Most of John’s comrades were aware of his queerness and were fiercely protective of him. He

in Queen and country
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show how heroes function as the embodiment of national unity and pride. Benedict Anderson ( 1991 , 163) writes that ‘in the “nation-building” policies of the new states one sees both a genuine, popular nationalist enthusiasm, and a systematic, even Machiavellian, instilling of nationalist ideology through the mass media, the educational system, administrative regulations, and so forth’. The chapter

in Soldered states
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Authority and society in sixteenth-century Nantes

the Catholic League rebellion lasted longer here than in any other town. This is not a simple narrative of Nantes’ experiences of the religious wars. The central focus is on authority, its theoretical construction, its institutional embodiment, its reception and negotiation, and changes within these over time. During the religious wars the understanding and exercise of many different levels of authority came under close scrutiny by contemporaries, and the nature and legitimacy of authority were questioned. This book offers a study of city governance in a period of

in Authority and society in Nantes during the French wars of religion, 1559–98
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Politeness, sociability and the culture of medico-gentility

grand house for him in the highly desirable Castlegate. Furthermore, at least seven members of the Doctors Club had been, or became, Lord Mayors of York between the 1760s and 1830s, with two, including Henry Raper, serving two terms. The Doctors Club was therefore the embodiment of a civic culture defined not by a guild-mentality of corporate exclusivity but by the polite and civil values of cosmopolitan inclusivity and congenial clubability. This fusing of the urbane and the civic was a peculiar characteristic of the eighteenthcentury urban renaissance.81 With the

in Performing medicine
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American correspondences in visual and verbal practices

Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms. Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.

The creation of Soviet culture in the 1920s and the 1930s was the most radical of modernist projects, both in aesthetic and in political terms. This book explores the architecture of this period as the nexus between aesthetics and politics. The invention of communist culture in the aftermath of the October Revolution was perhaps the most radical of modernist projects. The book demonstrates that the relationships between utopia and reality, idealism and pragmatism, between the will for progress and the will for tyranny, are complex and that they do not always play out in the same way. Case studies presented demonstrate the notion that Soviet architecture of the 1920s defined the New Man as primarily a worker. In contrast, during the 1930s the New Man was supposed to be an admirer of socialism in aesthetic terms, the total work of art created by the Communist Party. After an overview of the evolution of Soviet subjectivity, the book discusses transition from the productivist ethos to the representational ethos, which is epitomized in the public baths constructed around 1930 in Leningrad and Moscow. These structures were envisioned as both efficient machines for the production of cleanliness and microcosmic representations of the Soviet society. The book also presents a particular genre of socialist realism, the environmental expertise of obshchestvennitsy, or socially minded women. Finally, it explores the history of this immense structure, clad in expensive marble and illuminated by electrical lighting, altogether the embodiment of socialist modernity.