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Angelica Michelis

This article engages with the discourse of food and eating especially as related to the representation of the abject eating-disordered body. I will be particularly interested in the gothic representation of the anorexic and bulimic body in samples of medical advice literature and NHS websites and how they reinforce popular myths about anorexia by imagining the eating disordered body as a fixed object of abjection. Focusing on the use of gothic devices, tropes and narrative structure, these imaginations will be read against alternative representations of anorexic/bulimic bodies in autobiographical illness narratives, fictional accounts and a psychoanalytical case history in order to explore how gothic discourses can help opening up new understandings and conceptions of illness, healing and corporeality in the dialogue between medical staff and patients.

Gothic Studies
Abstract only
Helena Ifill

6 See, for example, Amanda Platell, ‘Sorry, why should the NHS treat people for being fat?’, Daily Mail Online (27 February 2009), www.dailymail.co.uk/​ debate/​article-​1156678/​AMANDA-​PLATELL-​Sorry-​NHS-​treat-​people-​ fat.html (accessed 18 September 2016). 7 See, for example, ‘UN panel warns against “designer babies” and eugenics in “editing” of human DNA’, UN News Centre (5 October 2015), www. un.org/​apps/​news/​story.asp?NewsID=52172#.WAnLMSTtX20, (accessed 21 October 2016). 215

in Creating character
Zombie pharmacology In the Flesh
Linnie Blake

United Kingdom of the present, specifically the legislative dehumanisation of entire swathes of the population at the hands of welfare reform and policies relating to immigration and asylum, the ongoing privatisation of the NHS, regionally differential cutbacks to public services, and the mainstream media’s promotion of a governmentally sponsored politics of hate. In this, I argue, the

in Neoliberal Gothic
Open Access (free)
A practical politics of care
Caoimhe McAvinchey

– people from front-line services such as the National Health Service (NHS) – but there was no prescription as to who the character would be. Informed by research into the impacts of austerity on the lives of those who are particularly vulnerable (Ali, 2015 ) and interviews with people who support women when released on a day-to-day basis, Joanne is an example of the way in which Clean Break’s practical politics of care has supported the development of new dramaturgical structures. Joanne is a state-of-the-nation play, capturing the long moment of critical impact

in Performing care
Applied drama, ‘sympathetic presence’ and person-centred nursing
Matt Jennings, Pat Deeny and Karl Tizzard-Kleister

relational ethics of care, as described by Virginia Held ( 2006 ), Joan Tronto ( 2013 ) and Nel Noddings ( 2013 ). However, nurses sometimes struggle to maintain these principles in the face of increasingly ‘mechanistic’ paradigms of care (de Zulueta, 2013 : 123), inadequate staffing levels and ever-changing challenges to patient safety (Louch et al ., 2016 ). Figure 11.1 Person-centred nursing framework In the wake of critical reports on the UK National Health Service (NHS), there has been increasing concern about the quality of the ‘patient experience’. A

in Performing care
Abstract only
Angela Lait

paperwork’ generated by government processes as being the ‘biggest cause of stress’ in the workplace (121–130), with rising stress levels in all occupations ‘now cited by 36 per cent of all professionals’. Public sector work increases the chances of stress, which are highest in the NHS (40%) (184–185, quoting AP Smith et al.). With the pace, workload and accountability demands of

in Telling tales
Conservative modernity and the female crime novel
Cora Kaplan

the errors which even a well-intentioned, liberal police officer can make in a case that centred on racial difference. The opening of Simisola makes an interesting contrast to the beginning of The Franchise Affair. Free indirect discourse – Tey through Robert Blair, Rendell through Wexford – sets the scene in both. The empire enters Simisola in the form of Wexford’s Nigerian-born GP, Dr Akande, who the Inspector is consulting. The NHS waiting room, itself a kind of microcosm of the community, includes an ‘olive skinned blonde’, who is patently not ‘English’, in a

in End of empire and the English novel since 1945
Abstract only
Sara Upstone

upon being ‘authentic’ (13): she supplements her stick with NHS spectacles, and adopts the stereotypical persona of a complaining and intolerant elderly person. In doing so, she finds herself able to inhabit a form that, while poorly treated, does have an identified persona which society recognises. An old migrant woman may be ignored, but to be ignored indicates a denied presence: the old woman is the ‘other’ of youth and the West’s preoccupation with youthful bodies, the migrant the recognised ‘other’ of white Britain. Yet unlike Gilroy’s male performers, Randhawa

in British Asian fiction
Open Access (free)
Care and debility in collaborations between non-disabled and learning disabled theatre makers
Dave Calvert

in the UK in the 1970s led to the Thatcher government’s policy of community care, as set out in the Mental Health Act of 1983 and refined in the NHS and Community Care Act 1990. Academic attention in America has also been preoccupied with care, as Patrick McDonagh suggests: ‘For years, the only available histories of idiocy and related concepts were works such as Leo Kanner’s A History of the Care and Study of the Mentally Retarded […] and Peter Tyor and Leland Bell’s Caring for the Retarded in America ’ ( 2008 : 10). This centrality of care reflects the

in Performing care
Praising ugliness
Naomi Baker

fallen and corrupt. The effort ‘to correct Nature’, he grudgingly concedes, ‘in some sort may be tolerable’: made-up women ‘having for the most part hard favours, [aim] chiefly to correct their deformities’, and ‘to correct or cure any deformity or blemish in Nature by lawfull means, not accompanied with sinfull actions, is tolerable’, even if he is not optimistic about the end results. 19 N.H.’s entry

in Plain ugly