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Keith A.P. Sandiford

too flamboyantly as one would expect from excitable natives from the tropics. When the West Indians became the most clinically professional team in world cricket, several English analysts concluded that it was the abject poverty in their homes which gave their fast bowlers such unusual verve and ferocity. A well-known English journalist produced Calypso Cricket , a famous documentary, in which

in The imperial game
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Prelude to decolonisation? The inter-war empire revisited
Martin Thomas

had not prepared him for the abject poverty he encountered in Equatorial Africa. The French colonial state had failed. For thirty years it permitted trading companies to exploit the indigenous population without restraint. 6 The Kongo Wara revolt was one direct consequence of this failure, but the litany of brutality, high mortality rates and endemic disease among forced labourers in AEF stands among

in The French empire between the wars
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Douglas Morrey and Alison Smith

en scène demand not that a director display a certain style but only that the style employed be appropriate to the material tackled, that the film be allowed to unfold according to its own logic. For Rivette, this question is an unambiguously ethical one, as demonstrated in his infamous critique of theabjection’ of Gillo Pontecorvo’s Kapò (1959). When he turned to directing his own films, Rivette

in Jacques Rivette
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Robert Duggan

adventurousness and linguistic prowess combined with his interest in the grotesque body and black humour mark him out as a prominent exponent of the contemporary British grotesque. The chapter on Ian McEwan charts his development from macabre explorer of dysfunction and psychosis in early works such as The Cement Garden (1980, first published 1978) and The Comfort of Strangers (1982, first published 1981) to celebrated public figure and Booker Prize winner. While the elements of taboo, horror and the abject have been identified in his early work, this section makes Grotesque

in The grotesque in contemporary British fiction
Real sympathy, the imitation of suffering and the visual arts after Burke’s sublime
Aris Sarafianos

not in the individuals represented; and, secondly, that the sublime takes place as the viewer swings across the competing experiences of pity and horror, powerlessness and the visual power of the abject body – the wounded, bleeding and inflamed body. 172 Wounding realities and ‘painful excitements’ Arguably, this power depended on new modes of representation marked by the massive proliferation of anatomical details, which, in turn, defined a kind of seeing well attuned with Burke’s notion of the sublime as a mode of sensory exertion. Detail was widely

in The hurt(ful) body
Yehonatan Alsheh

explanation has its limitations of course – it is not entirely clear how Kristeva evades falling into the naturalistic assumption that all this somehow applies to all people at all times and in all cultures. However, it can be interpreted as dealing with the dynamic of real interactions that precede the emergence of a thinking subject and thought-of objects (before the successful exclusion of the abject) and what may still happen after the collapse (the failure of the exclusion) of the correlation between the subject and the object. Moreover, Kristeva’s theory of abjection

in Human remains and mass violence
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Queering the Gothic
William Hughes and Andrew Smith

the abjected demon of the non-queer, then the reverse may also apply. In queer terms, one may be – horror of horrors – a closet heterosexual, and one’s literary queerness may be subsumed within a conformist conception of genre and expression. One may compromise, or may have to compromise: to be queer is to be poised always upon the threshold of the non-queer. Bearing this in mind, Susan Stryker

in Queering the Gothic
Rebecca Munford

a separate being. It is the condition of radically excluding that which is other to the self; it is the state of establishing the (precarious) borders of its autonomous being. Kristeva argues that the mother is the first body that must be abjected by the child so that it may ensure its subjective integrity. The abject, she proposes, confronts us [...] within our

in Decadent Daughters and Monstrous Mothers
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Fred Botting

extreme pleasure, jouissance, which tears open the ‘inaugural loss’ founding subjective being ( Kristeva, 1982 : 5). It is a locus of constitution and dissolution, pleasure and pain, attraction and repulsion, limit and transgression. A site of what Bataille calls an ‘imperative act of exclusion’ ‘founding community and morality’, the abject is thus associated with the

in Limits of horror
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Fred Botting

body is ripped apart and so is sense: the abject, and Orlan’s performance, slices through comfortable modes of viewing, representing a body in pain and causing a bodily disturbance in other bodies. Also, another level of discomfort is evoked, a cognitive disturbance affecting the capacity to interpret and analyse: ‘what’s difficult in my work is that it’s uncomfortable in every sense. So far as the

in Limits of horror