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Landscape and the lost republic
Nicholas Allen

subjective suffering is added with Moran’s marriage to Rose, a match that serves only to show how his self-imprisonment can be extended to others. The critical focus on Amongst Women has concentrated on the social construction of the novel and its implications for mid-twentieth-century Irish society.8 Sampson takes up this theme in part through McGahern’s reference to the living stream,9 which is the novelist’s gesture towards a key sequence in Yeats’s meditation on rebellion, ‘Easter, 1916’: ‘Hearts with one purpose alone / Through summer and winter seem / Enchanted to a

in John McGahern
Carter’s ambivalent cinematic fiction and the problem of proximity
Marie Mulvey-Roberts

, Eve explains, ‘I saw a young woman who, though she was I, I could in no way acknowledge as myself, for this one was only a lyrical abstraction of femininity to me, a tinted arrangement of curved lines’ (2008: 74).19 Recognizing this split, it might be more appropriate to refer to ‘Eve/lyn’ rather than ‘Eve’ or ‘Evelyn’ in order to mark the ambiguity of gender and sex represented here.20 What is also worth noting is that in referring to femininity as ‘a lyrical abstraction’, Eve has begun to appreciate that gender may be more of a social construction than she had

in The arts of Angela Carter
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L’effroi et l’attirance of the wild-woman
Jacqueline Lazú

priority. This does not suggest that respect or empathy should be sacrificed. Only by understanding the social oppression, exploitation and degradation experienced by the sort of people who become freaks can one understand the choices made – if choices even exist – to appear to give consent to being exhibited (or manipulated, used, etc.). So, according to Gerber, in the case of the freak show, the minority-group model serves to join a respect for social process to the power of social constructionism. 40 The commodification of Otherness, as bell

in The last taboo
Max Silverman

that ‘blackness’ is a perception of somatic otherness whose recognition is fundamental for the establishment of disalienated human relations? Rather than provide answers to these questions, Fanon will later present blackness in a very different way. ‘L’Antillais ne se pense pas Noir; il se pense Antillais […] Or, c’est un nègre. Cela, il s’en apercevra une fois en Europe, et quand on parlera de nègres il saura qu’il s’agit de lui aussi bien que du Sénégalais’ (Peau noire: 120–1).10 Here blackness is, once again, simply a European social construction. Before contact

in Frantz Fanon’s 'Black Skin, White Masks
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Exploring sites of the Canadian ecoGothic
Alanna F. Bondar

knowledge that she was not pregnant, only tested; ‘the blood of her moons … had collected inside her until finally it rose up into her throat’ (72). Masked by a fear-inducing religion that privileges the afterlife and denigrates earth-bound existence, the surreptitious stripping of women’s personal choices effectively destroys lives – foetal and female. By destabilizing the social construction of these

in Ecogothic
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Max Silverman

social constructions rather than natural characteristics, but it will also establish a tension between Martinican and metropolitan culture and history which is at the heart of Fanon’s ‘lived experience’. ‘White’ for Fanon is already overlaid by the Martinican experience of the ‘béké’ (the white master of colonial rule). It is his racialising and inferiorising look which will be recalled (if unconsciously) when, in a train, Fanon is cast as the demonic Negro in the eyes of the white boy with his mother. This moment in France is therefore overlaid with (and

in Frantz Fanon’s 'Black Skin, White Masks
Don Randall

’s characterising concern with otherness, a concept that certainly resonates with the inaugural articulations of postcolonial theory. Discussion of An Imaginary Life, in Chapter 3, introduces the notion of the othered other, the other deformed and made threatening by fear and disavowal, by refused recognition, and this key conception of the social construction of otherness remains pertinent in subsequent discussion of abjection. Said’s Orientalism, and most particularly in the chapter ‘Orientalizing the Oriental’, argues that imperial discourse works in large part by deformation

in David Malouf
Metamorphoses of early modern comedy in eighteenth-century bourgeois theatre
Friedemann Kreuder

-restraint of methodically ignoring one’s own desires and emotions. However, what had to remain hidden in everyday life was made apparent in the theatre: the unstable construction of the bourgeois individual, as well as the power strategies motivating these social constructions. In Kurz’s Ambigu Comique – another medley of burlesque, farce

in Transnational connections in early modern theatre
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Marie Mulvey-Roberts

. 19. 10 Ruth Bienstock Anolik, ‘The infamous Svengali: George du Maurier’s Satanic Jew’, in Ruth Bienstock Anolik and Douglas L. Howard (eds), The Gothic Other: Racial and Social Constructions in the Literary Imagination (Jefferson, NC: McFarland, 2004 ), p. 186

in Dangerous bodies
Dean Lockwood

-significant or deemed a cultural projection, a social construction’ ( 2011 : 147). Culture must be conceived as part of processes of material becoming. Following Nietzsche and Deleuze, Cox claims that art is inseparable from the world’s immanent self-transcendence, its self-othering creativity and productivity. He commends ‘a thoroughgoing materialism that would construe human symbolic

in Monstrous media/spectral subjects