Dogs, snakes, venoms and germs, 1840–68
Peter Hobbins

Public demonstrations helped establish the dangerous action of snake venom through the mid-nineteenth century, but they provided little elucidation as to its nature. Was it animal, germinal or chemical? This fundamental question proved ontological in two senses. First, venom provided an exemplar of an ontological agent of disease: a discrete entity causing a

in Venomous encounters
The difference of Deleuze and Derrida
Tuija Pulkkinen

4 Ontologies of borders: the difference of Deleuze and Derrida Tuija Pulkkinen This chapter is about the concept of border. I will not approach border as if I was going to conceptualize something that we already empirically know about, and nor will I concentrate solely on geographical and political borders. Instead, I will take a step back and consider border in an abstract sense: as a separation of one into two dissimilar entities. This means that I will take the study of border into the area of philosophy and, in particular, into problems of ontology and

in The political materialities of borders
Scandinavian Late Iron Age gold foil figures through the lens of intra-action
Ing-Marie Back Danielsson

11 ‘Guldgubbars’ changing ontology: Scandinavian Late Iron Age gold foil figures through the lens of intra-action Ing-Marie Back Danielsson Introduction This chapter discusses Late Iron Age gold foil figures from Scandinavia. The figures can be described as tiny human-like beings stamped on very thin gold foil. They mainly date to what in Sweden is called the Vendel period, c. 550–800 CE. Despite a great variety in terms of execution, appearance and so on, they are all known as ‘guldgubbar’ (similar names in Swedish, Danish and Norwegian). They are commonly

in Images in the making
Ian Aitken

posthumous publication of Toward the Ontology of Social Being (1971–73) (hereafter referred to as the Ontology ). The other took the form of a more practically oriented exertion to both demoralise the raison d’être of orthodox communist ideology, and replace that rationale with one associated with forms of ‘humanist socialist Marxism’ (Shafai, 1996 : 1). This latter objective, which

in Lukácsian film theory and cinema
C. Lejewski
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
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Found Footage Cinema and the Horror of the Real
Neil McRobert

This article examines the post-millennial popularity of the found footage movie, in particular its engagement with the representational codes of non-fiction media. Whilst the majority of critical writings on found footage identify the 11 September attacks on the World Trade Centre as a key visual referent, they too often dwell on the literal re-enactment of the event. This article instead suggests that these films evoke fear by mimicking the aesthetic and formal properties of both mainstream news coverage and amateur recording. As such they create both ontological and epistemological confusion as to the reality of the events depicted. Rather than merely replicating the imagery of terror/ism, these films achieve their terrifying effects by mimicking the audiences media spectatorship of such crisis.

Gothic Studies
Art, process, archaeology

This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a New Materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognise the dynamic and changeable character of images.

Evil, Privation and the Absent Logos in Richard Marsh‘s The Beetle
Simon Marsden

This essay explores the influence of the theological tradition of privation theory upon Richard Marsh‘s novel The Beetle (1897). Focusing on images of ontological nothingness, corruption and uncreation, it argues that the novel employs the concept of privation both in its depiction of the supernatural Other and in its parallel interrogation of its contemporary modernity. Imagery of privation in the novel is associated not only with the Beetle itself, but with the modern urban environment and weapons of mass destruction. The essay concludes by examining the corruption of language and absence of a creative logos able to respond adequately to the privations of the modern city and industrial economy.

Gothic Studies
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The Entropic Gothic of American Horror Story
Dawn Keetley

FX’s American Horror Story: Murder House (the series’ first season) is an important addition to the Gothic canon, manifesting every conceivable Gothic convention, its narrative overwhelmed by a claustrophobic sense of enclosure in space and repetition,in time. Indeed, the series manifests what I call the entropic Gothic: its trajectory is relentlessly toward exhaustion and stasis, toward dissipation and death. Symptomatic of this entropic Gothic of American Horror Story is its focus on twins - markers, in the series, of an abiding cultural entropy. The first half of this essay is grounded in the more literal association of twins with reproductive technologies and aging mothers. Twins thus stand in for a series of literal anxieties about interwoven children and homes - about the future of the ‘American,Dream’ - that have plagued the United States in particular since the beginning of the recession (2007 through at least the end of 2012). The second half of the essay takes up the more metaphorical meanings associated with twins. American Horror Story’s reiterations of the same, its proliferation of mimetic semblables, mark the entropic drift of the series toward undifferentiation and extinction. Twins metonymically gesture to what the ‘Murder House’ itself represents - a realm of involutionary regression, of reality become virtual reality. The series tracks a fundamental entropic regression of the human to a spent, useless state, in which it is preserved only as what Jean Baudrillard called ‘a kind of ontological “attraction”’.

Gothic Studies