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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
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126 126 10.7227/BJRL.59.1.5 Outline of an ontology Lejewski C. 09 1976 59 59 1 1 127 127 147 147 10.7227/BJRL.59.1.6 Rilke’s fictional notebook Parry Idris 09 1976 59 59 1 1 148 148 163 163 10.7227/BJRL.59.1.7 From the Bible to the modern world: a problem for ecumenical ethics

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80 80 3 3 195 195 214 214 10.7227/BJRL.80.3.12 Male theology in the bedroom: Foucault, de Sade and the body Carrette Jeremy 09 1998 80 80 3 3 215 215 234 234 10.7227/BJRL.80.3.13 Transcorporeality: the ontological scandal Ward Graham 09 1998 80 80 3 3 235 235 252 252 10.7227/BJRL.80.3.14 ‘Only bodies

C. Lejewski
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
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.

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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