Sibling incest, class and national identity in Iain Banks’s The Steep Approach to Garbadale (2007)
Robert Duggan

The work of Iain Banks has been prominent in exploring the crossings of different kinds of borders: national, aesthetic and generic, ontological, gender and class to name but a few. Banks has also been part of a wider preoccupation in contemporary Scottish writing to do with inhabiting border zones, where the border ceases to be an idealised geometric line with almost no width or physical extension

in Incest in contemporary literature
From insular peace to the Anglo-Boer War
Julia F. Saville

defending what he believed were ideals under attack by renegade factions, Swinburne was nonetheless capable of sustaining a negotiative ethics when meditating on radical philosophical and ontological difference (such as fate or death). This capability is borne out by one of his last swimming poems, ‘The Lake of Gaube’ (Swinburne 1904 , 6.284–7), published only days before the outbreak of the South African war. A masterful synthesis

in Algernon Charles Swinburne
Open Access (free)
A European fin de siècle
Sergei Medvedev

West has defined basic human rights as universal principles that transcend sovereignty. In the new normative paradigm of Idealpolitik , sovereignty is no longer an ontological given, no longer inviolate. In some cases, it may be restricted (for example, Milosevic’s token sovereignty over Kosovo or Saddam Hussein’s over Iraqi skies); in other instances, it is simply revoked. As a result

in Mapping European security after Kosovo
A study of Georg Lukács’ writings on film, 1913–71
Author: Ian Aitken

This book explores Georg Lukács' writings on film. The Hungarian Marxist critic Georg Lukács is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English until now. This book contains the most important writings and the translations. This book thus makes a decisive contribution to understandings of Lukács within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukács' literary theory is well known for its repudiation of naturalism, in his writings on film Lukács appears to advance a theory and practice of film that can best be described as naturalist. Lukácsian film theory and cinema is divided into two parts. In part one, Lukács' writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves.

Bill Marshall

fond when describing his films is dépaysement,3 whose literal meaning is that of being made to change country (pays), to be exiled, uprooted, lost, and thus in general to change place or milieu (significantly, in French this state of being – dépaysement – has both negative and positive connotations). For Téchiné, it is a kind of ontological category, describing the nature of human existence. In this chapter we shall examine its more literal dimension. Alice et Martin (1998) This can begin to be illustrated by looking at Téchiné’s thirteenth feature film, Alice et

in André Téchiné
Dimitris Dalakoglou

-border highway. Migrants themselves bring them in the form of materials from Greece. Thus, the houses of postsocialist Albania not only flow on the road but are a continuation of the materiality and ontology of the road itself. The importance of building houses in their home country, despite not being in residence there, is well documented in the case of Albanian migrants (e.g. Dalakoglou 2009a, 2010a; King and Vullnetari 2003; Nitsiakos 2003). Houses migrants build are a frequently reported ethnographic phenomenon in other migratory countries such as Jamaica (Horst 2004

in The road
The Smiths, the death of pop and the not so hidden injuries of class
Colin Coulter

art. The sense of personal humiliation and ontological damage that pervade Morrissey’s singular lyrics clearly chime with the concerns that appear in the writings of the sociologist Richard Sennett. In a book entitled The Hidden Injuries of Class, co-written in 1972 with Jonathan Cobb,40 Sennett offers a vision of bourgeois society that he has refined and developed in a sequence of subsequent texts.41 In his eyes, the multiple iniquities of capitalism assume the CAMPBELL PRINT.indd 166 21/09/2010 11:24 Colin Coulter 167 guise not merely of material exploitation

in Why pamper life's complexities?
Thibaut Raboin

look at credibility as a central part of the biopolitics of LGBT asylum, and argues that as a mode of veridiction, credibility is based on a series of sexual ontologies, affects and modes of projection that (re)produce certain forms of liberal queerness as ‘true’. In other words, I will suggest here that the recognition apparatus not only functions to exclude (or not) claimants, but also to strengthen the hegemony of liberal queerness as a universal way of being queer in the world. Looking at the debates and criticisms around credibility, the chapter then shows how

in Discourses on LGBT asylum in the UK
Cohesion, contestation and constructivism
Andrew Whiting

theoretical tools, but it is in this chapter that I will address and problematise established cybersecurity knowledge. With this in mind, Chapter 1 aims to achieve two objectives. First, I intend to provide an in-depth overview of cybersecurity knowledge to date that spans academic disciplines, including politics, international relations, security studies, law and computer science. When exploring this research, my aim is to draw attention to the broad ontological, epistemological and methodological homogeneity that is evidenced by a thematic trichotomy of

in Constructing cybersecurity
Identification, imitation and critical mortification
David Platten

; they did not in and of themselves amount to an ontological earthquake. Rather the Lumières’ unveiling of their cinématographe has since been interpreted as a significant event in a well-documented history of scientific experimentation, ‘a particularly ingenious synthesis of research into motion-picture technology carried out by several generations of scientists and amateur inventors’ (Temple and Witt 2004: 9). For some, particularly those inspired by the work of André Bazin, for whom the cinema belongs to the order of mimesis, the invention of photography some sixty

in Imagining the popular in contemporary French culture