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Sentient ink, curatorship and writing the new weird in China Miéville’s Kraken: An anatomy
Katharine Cox

meaning-making represented by Tattoo (a structuralist harking after the ‘perfect’ semantic moment) and Grisamentum (a poststructuralist). Harrow, meanwhile, has evolved beyond this. He combines imaginative thinking with literal understanding of metaphor. As he begins to belong in the alternant London, he gives ‘equal ontological weight to both the metaphor and the thing it “really” stands for’ (Vint 2015 : 51). As Christopher Palmer claims, ‘[l]iteralism is important to the whole project of Kraken ’ ( 2014 : 171). This is reflected in Miéville’s multi-faceted approach

in Tattoos in crime and detective narratives
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Eleni Myrivili

future, to another kind of temporality, to something other than being, to others in general … This Other, the trace, he tells us, is a minimum of repeatability, which is there at every event, enabling it. It is a hiatus, an interruption of presence and being, and inassimilable to representation. For Derrida, the trace is an infinite mediation disrupting all claims to presence and all questions regarding ontology (what is), a negation that is the very condition of being. The spectre, the ghost, is also something that is non-present, non-localizable, non-being. It, like

in The political materialities of borders
W. J. McCormack

the same emotional context. Bowen’s novel had a background of sexual irregularity (the Burgess/Bowra circle, as well as the author’s heterosexual infidelity) but its eventual concentration on character largely excludes issues of ‘gender-identity’, opting instead for more thoroughly ontological questions. Nevertheless, concurrent imageries are to be traced in letter and novel

in Dissolute characters
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The role of photomontage in the meaning-making of windfarm development
Jean Welstead

proposed new reality by the developer, the community, the regulators and the consenting body. This chapter explores the role of photomontage in the development of windfarms over the last quarter century in Britain, and how the production of such an image contributes to the meaning-making and ontology of a new windfarm. It links the trajectory of the development of windfarm photomontage with insights from ecocriticism, an academic discipline which reads environmental texts with and against literary and artistic works and has developed contemporaneously, gradually widening

in Extending ecocriticism
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Thomas A. Prendergast and Stephanie Trigg

actually were allowed reformers to claim that their project was epistemological, the triumph of truth over fabulous error. Yet what it actually accomplished was the destruction of the objects that led to this truth. In the spirit of the recent theoretical return to the ontology of the object, we suggest that getting back to the medieval object in this case might well be a way to get back to the history of

in Affective medievalism
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Shivdeep Grewal

As the journalism survey of the previous chapter showed, Habermas views the EU as repeating the process of juridification beyond the nation-state, initially in terms of the single market, and then, gradually, in its civil, political and social dimensions. Yet he also acknowledges major differences between this continental cycle of juridification and the centuries of development that culminated in the welfare state. Juridification can be thought of as a metatheory of social modernity, a statement of its ontological

in Habermas and European integration
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Politics, violence and resistance
Richard Jackson

live ethically, we must think and act politically’ (Campbell 1998:519). For this reason alone, I believe we have an ethical duty to resist the discourse, to deconstruct it at every opportunity and continually to interrogate the exercise of power. Importantly, the observation that large-scale political violence is a discursive construction is more than simply ontological; if a campaign of violence like

in Writing the war on terrorism
Chaucerian Beckets
Helen Barr

Tales. This chapter argues that the Beryn-poet recognises that Chaucer’s Pardoner is fashioned from the signs of Becketian relics. Further, the poet reproduces the interplay between body and relics to question the ontology of both anatomy and devotional practice. The Chaucerian Pardoners in The Canterbury Tales and The Canterbury Interlude are figures for the work of figuration. On the road to Canterbury and within its walls, the Pardoners’ bodies reproduce the desire for the traffic in relics so closely bound up with the body of Thomas Becket in Canterbury Cathedral

in Transporting Chaucer
The mise-en-scène of mise-en-scène
Peter Buse, Núria Triana Toribio and Andy Willis

‘location’, they invariably reconstruct that location to suit the demands of the film. This is a cinema, then, which pulls against the ‘ontology of the photographic image’ identified by André Bazin. According to Bazin, the cinema has a privileged relation to the real, and ‘enjoys a certain advantage in virtue of this transference of reality from the thing to its reproduction’ (1967, 14). We find instead in these films a working on, a distortion, or a fabrication of fictional worlds, into which, as we have argued in the previous chapter on 800 balas, shards of social

in The cinema of Álex de la Iglesia
Christine Cornea

’s animated cartoon comedy, but this is located in the presence assumed by the star voice-over. Alternatively, as a genre that has long been concerned with displacing ontological certainty, any sense of presence that a star performer might confer is often diluted in science fiction cinema. A Scanner Darkly works with the codes and conventions of both the animated cartoon and science fiction film and playfully puts the power of performance

in Genre and performance