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Women and body hair in contemporary art and advertising
Laura Scuriatti

Body hair is constantly mentioned in magazines aimed at a female reading public (but increasingly also to a male readership), and is a relatively recent entry in art. Paradoxically, women’s magazines’ preoccupation with body hair only relies on a series of images in which female bodies are hairless, except for the genital area. 1 Advertising campaigns about body hair only consider it as refuse that needs to be removed from female bodies, and therefore just refer to it, but never show it. On the other hand, in recent years

in The last taboo
The monstrous child
Jarlath Killeen

( 1755 ) defines as something ‘out of the common order of nature’, a creature ‘horrible for deformity’. 1 Unusual physical disabilities and disfigurements marked individuals out as curiosities of interest to a number of different constituencies. For natural philosophers and scientists in organisations like the Royal Society in London and the Dublin Philosophical Society, corporeal curiosities were medical and intellectual challenges, useful in getting a sense of how a ‘proper’ or ‘whole’ or ‘normal’ body should look and

in Imagining the Irish child
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Passing and writing in The White Boy Shuffle and The Human Stain
Sinéad Moynihan

their bodies as a key site of self-definition through their commitment to their respective sports (basketball; boxing). Both are, moreover, committed writers: Gunnar becomes a celebrated poet and the novel, like Middlesex, passes as his ‘memoirs’ (p. 2); Coleman fails to publish his own magnum opus, memoirs entitled Spooks. Beatty’s The White Boy Shuffle, a first-person narrative, traces Gunnar’s late childhood, adolescence and early adulthood in Santa Monica, Los Angeles and Boston as he struggles to become a published poet. In

in Passing into the present
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Cary Howie

Handed This chapter’s wager—which has something to do with words and bodies, and the kinds of transactions and transformations that may occur between them and at their limits—would be impossible, or at least fundamentally different, without the work of a handful of thinkers I want to acknowledge here, again, at this beginning which isn’t one. Throughout this book, I find myself trying to articulate a kind of lyrical criticism, a way of being with poetry and philosophy that would take seriously something that Jean-Louis Chrétien says toward the end of The

in Transfiguring medievalism
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From doctrine to debate in medieval Welsh and Irish literature
Helen Fulton

5 Body and soul: from doctrine to debate in medieval Welsh and Irish literature Helen Fulton In the Middle English poem attributed to John Lydgate, The Pilgrimage of the Life of Man, translated from the French poem by Guillaume de Deguileville, the allegorical figure of Grace Dieu, hoping to guide the Pilgrim safely on his journey to salvation, describes the relationship between the body and the soul. Addressing the Pilgrim’s soul, the seat of his intellect and cognition, Grace Dieu tells him that he must fight ‘lyk a myghty champyoun’ against the ‘deceyt

in Sanctity as literature in late medieval Britain
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The theatre of revelation in Beckett, Foreman and Barker
George Hunka

R&G 06_Tonra 01 11/10/2013 16:15 Page 65 6 Access to the body: the theatre of revelation in Beckett, Foreman and Barker George Hunka The speaking body on stage as the irreducible condition of theatrical experience is a trope so general as to verge on the meaningless. It is applicable to any theatrical event from a play by Neil Simon or Alan Ayckbourn to the farthest reaches of the work of the Complicite company, Jan Fabre or Romeo Castellucci. In some theatre of the late twentieth and early twenty-first century, however, it is this condition which itself

in Howard Barker’s Art of Theatre
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Elisabeth Bronfen

monstrous scheme. In an effort to ‘preserve the charmer from decay’ as long as possible, he wants to steal the corpse and have a surgeon open the body and embalm it. When the body can no longer be kept from its ‘original dust’ he plans at least to keep Clarissa’s heart ‘in spirits … It shall never be out of my sight’ (IV.376). Lovelace’s fantasies about

in Over her dead body
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Exploring sites of the Canadian ecoGothic
Alanna F. Bondar

Canada is ‘the space you inhabit not just with your body but with your head. It’s the kind of space in which we find ourselves lost.’ 4 Canadian critic and writer Robert Kroetsch argues that Canada finds ‘disunity as unity’; by disrupting metanarratives that define Canada as a strictly a colonial space, readers may begin to understand how outdated ideological constructions trap Canada into

in Ecogothic
Techno-Gothic as Performance in Romantic Drama
Marjean Purinton

The discourses and practices of science and medicine significantly influenced British Romantic-period drama so that these new fields of inquiry were recontextualized in popular forms of the Gothic. Notions of the body and the spirit were negotiated on the stage, and the result constituted what I call ‘Techno-Gothic’ drama. Not surprisingly, Techno-Gothic drama took on two manifestations - grotesques and ghosts - and I examine how the vampire - at once grotesque and ghos - demonstrates the workings of Techno-Gothic drama in James Robinson Planchés melodrama The Vampire; or the Bride of the Isles, A Romantic Melodrama in Two Acts, Preceded by an Introductory Vision (1820) and in Thomas Dibdin‘s spectacular Don Giovanni; or A Spectre on Horseback (1818). I argue that Planchés and Dibdins popular plays demonstrate how Techno-Gothic drama appropriated, interrogated, negotiated, and resisted scientific concepts and technological methods in post-Enlightenment thought and culture. In parodying scientific methods and demonstrations, The Vampire and Don Giovanni, question the veracity and omnipotence of the new sciences.

Gothic Studies
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A queer and cartographic exploration of the Palestinian diaspora in Randa Jarrar’s A Map of Home (2008) and Him, Me, Muhammad Ali (2016)
Alberto Fernández Carbajal

’s narratives are suffused with pathos, borne out, as I have suggested, of his postcolonial queer melancholia, Jarrar’s work brims instead with bathos, one of the author’s main tools of insurgence against Arab and Islamic heteropatriarchy. Jarrar’s creative imagination imbues serious themes such as gender violence and patriarchal oppression with humour, while interrogating the impact of Arab heteropatriarchy on queer bodies. The last chapter of this book examines Jarrar’s debut novel, A Map of Home , published in 2008, and her recent short story collection, Him, Me

in Queer Muslim diasporas in contemporary literature and film