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Theory of the novel and the eccentric novel’s early play with theory

unconscious. Hence Dostoevsky’s association of both underground narrator and Myshkin with mice, Kafka’s metamorphosed Samsa and human mole in ‘The 3 Deleuze and Guattari, Kafka: Toward a Minor Literature, 19. Lubkemann Allen, EccentriCities.indd 387 28/10/2013 12:20:36 388 An encompassing eccentric line Burrow’, Machado de Assis’s and Bulgakov’s dogged fictions, Veríssimo’s and Lispector’s reimagined roaches – all of these animalize rather than vegetalize consciousnesses, problematizing cultural displacement, deviance and disorientation by displacing consciousness

in EccentriCities
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’ (Benjamin, 1997: 128) on the crowded streets, and disorientation forces him to retreat to the relative calm of Central Park. Initially, the homeless Fogg wanders mid-town Manhattan indiscriminately. But Downtown 1111 2 3 4 5111 6 7 8 9 10111 11 2 3111 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 75 soon he finds the streets to be an unforgiving environment. The rigid codes of metropolitan behaviour dictate ‘the way you act inside your clothes’ and preclude any ‘spontaneous or involuntary behaviour’ (Auster, 1992a: 56–7). ‘In the streets’, Fogg

in Paul Auster
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the key themes in the novel. Auster presents Anna’s experience at the extremes of human suffering and cruelty, and the metropolis at the limits of change, disorientation and alienation. Like the ‘City of the World’, this is an unreal place, filled with the imaginary and the symbolic. Thus, like the ‘City of the World’, it displays the characteristics of a ‘negative utopia’. However, unlike the model in The Music of Chance, the city is a dystopia of process rather than physical form. Anna has gone to the city to search for her journalist brother. This demonstrates

in Paul Auster
Interstitial queerness and the Ismaili diaspora in Ian Iqbal Rashid’s poetry and films

wavelengths provided by diasporic and global histories, to the disorientations and reorientations involved in queer relationships across ethnic divides. It is these connections across ethnic and generational lines that will claim our attention in the forthcoming pages. Rashid was born in Dar es Salaam, Tanzania, in 1965 to Ismaili Muslim parents of Indian heritage. His family left Tanzania in 1970, unsuccessfully seeking asylum in London. They eventually settled in Canada. Rashid grew up in a majority white and violent suburb of inner-city Toronto

in Queer Muslim diasporas in contemporary literature and film
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Mimicry, history, and laughter

fragmented because ‘the displacements of Le Fanu’s fiction are only part of its comprehensive rejection of all notions of fixed centrality, reliable identity and social stability’ (p. 146). This disorientation and its relationship to the past marks out Le Fanu’s use of spectrality as being quite different from either Dickens’s or Kipling’s. As Sally Harris has noted of Le Fanu’s tales

in The ghost story, 1840–1920
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183 plotlines of his films suggest the style as of a piece with a notion of the world as alienating and threatening. The style is meant precisely to disorientate us. Later films are smoother at a time when the commercial vein had been found wanting. This, too, might arguably function as a form of cinematic dissidence in that breaching the divide between cine social and more commercially orientated genres problematises an over-simplistic divide between Spanish, European and Hollywood cinemas. Many Spanish directors do in fact utilise different genres and styles

in Daniel Calparsoro
Historical cinema in post-Franco Spain

complexities of the novel are replaced by a conventional chronological order of events in the film. These alterations align Camus’s film with a classic narrative model, prioritising a simplifiednarrative coherence over some of the essential qualities of Cela’s original. Here, spatial and temporal fragmentation and disorientation and the hive-like existence of post-war Madrid inscribe a strongsense of

in Contemporary Spanish cinema

, become more disorientating than illuminating –​the contexts for understanding their meanings multiplying beyond any ‘local solutions’. Nevertheless, this ‘ungrounding’ of the images takes place just as Doherty maintains a dogged commitment to returning again and again to old ground, remaining strategically repetitive in his practice, looking over and over at familiar material, creating an uncanny sense difference from what seems to stay the same (Same Difference is the title of a notable early work by Doherty). As in much of Doherty’s practice, there is therefore a

in Ghost-haunted land
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– and through the use of two voice-over narrators, Petit and Sinclair. Where the book concentrates on Sinclair’s counter-clockwise walk around the ‘acoustic footsteps’ of the M25, the film’s focus is upon footage taken from a car driving around the motorway. Sinclair’s walking project attempts to undo the malign influence of the Millennium Dome; Petit’s driving project deftly imitates the state of fugue that descends upon the motorway driver, with slightly defocused video photography and jump-cuts between different parts of the motorway expressing disorientation and

in Iain Sinclair
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Trying but failing to renew social democracy

Thatcher argued, the ‘dominance of neoliberalism has ensured that it has come to define the terms of discussion and contestation’.14 This latter factor is particularly apt to explain the absence of a social democratic response to the global financial crisis in Europe. As Chapter  1 showed, the social democratic left was disorientated and had no coherent or cohesive response to the crisis. Social democratic parties failed to contest the false idea that the global financial crisis and the European debt crisis were caused by State profligacy, and as a result were forced to

in The Labour Party under Ed Miliband