The diabetic body can be mapped as a profoundly Gothic landscape, referencing theories of the monstrous, the uncanny and the abject. Diabetes is revealed under what Foucault has termed the medical gaze, where the body becomes a contested site, its ownership questioned by the repeated invasion of medical procedures. As an invisible chronic illness, diabetic lifestyle is positioned in relation to issues of control, transformation, and the abnormal normal. Translating the Gothic trope of the outsider into medical and social realms, the diabetic body is seen as the Othered body ceaselessly striving to attain perfection through blood purification rituals. This essay examines how diabetes is portrayed in film and fine art practice from the filmic approach to diabetes as dramatic trope to fine art techniques that parallel ethnographic and sociological approaches to chronic illness.
literary vampire; one of
these, the Byronic, though born in that Romanticism, is still very much
a presence in contemporary vampire texts. In this chapter I will show
the evolution of the Byronic vampire as it mutated from its folkloric
roots, as documented in the ethnography of the likes of Tournefort, into
a powerful literary figure. I will also show that, as this archetype
evolved, it did so through an
first, primarily ethnographical. They commonly depict the peasantry as
deluded by superstition, with priests often cast as a harmful and venial
source of this contagion. Yet the portrait is not necessarily
disparaging; often the people have all the ambiguous integrity and
simplicity of the ‘noble savage’. In these accounts, the
vampire – almost always itself a peasant – becomes a
social control, and its valuation of ordinary viewers, an attention to new modes of delivery and interaction with television drama will develop the research into reception conducted in some of the essays in this book and in other ethnographic studies of the audiences of popular television drama. One aspect of this research will concern the segmentation of audiences, and how different audience groups enjoy and understand programmes differently. In fact, television drama means different things for different audiences. There are generational differences between the
local, as Chow points out in her insightful analysis of film
as ethnography ( 2010a : 148–71 )
utilising Mulvey’s now iconic essay on gender and power in
Hollywood cinema, ‘Visual pleasure and narrative cinema’.
While the return to the past in Japanese cinema of the 1950s and 1960s
functioned as a form of reimagining of national identity outside of the
contaminating influence of Western forms, tied up
Writing popular culture in colonial Punjab, 1885– 1905
instance by tracing the interest in ‘classical’ Punjab and
its survivals in the work of Punjab’s first colonial archaeological survey, which also
collected anthropological and ethnographical material. It then looks at three different
types of overlapping evidence of Punjabi literary culture in English through the
‘collecting’ of folklore, the adaptation and translation of children’s
tales, and the curation and translation of Punjabi lyrics.
Excavating cultures: colonial mythologies in
White Zombie (1932) and I Walked with a Zombie
(1943), to name two of the better known – the figure belongs
to the exotic ethnography of the Caribbean, and reflects little
about American culture except its fascination with empire and
discomfort with the legacy of slavery. With Romero’s film,
however, the zombie arrives freighted with the very pressing issues
of the American
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