Search results

You are looking at 1 - 6 of 6 items for :

  • functional differentiation x
  • Manchester Gothic x
Clear All
Patricia Duncker’s The Deadly Space Between and The Civil Partnership Act

deviation, sameness with difference. Similarly, the relation between Toby and his mother derives from a process of gender fusion instead of heteronormative differentiation. Toby and Iso are said to look alike, and through mimetic desire swap conventional gender characteristics: ‘short, straight, blonde hair, like a couple of Nordic heroes, pale freckled skins which burn easily, and the same grey-blue eyes

in Gothic kinship
Gothic kinship in Stephen King’s Pet Sematary

. Church wasn’t supposed to get killed because he was inside the magic circle of the family’ (106, italics original). This ‘magic circle’, Louis thinks, should through differentiation protect the family and what it contains; but, in the novel’s inexorable logic, it also affiliates it, in ways of which he is not always conscious, throwing out lines of uncanny connection to other circles and other places

in Gothic kinship
Abstract only

in their own right and in conjunction with later developments in mesmerism and hypnotism. All three epochs envisaged by the Quarterly Review are thus, in a sense, simultaneously a single epoch pervaded by Mesmer in the guise of the practitioner as well as in his functional role as pioneer or first populariser. To read mesmerism in a truly nineteenth-century context, therefore, it is necessary to

in That devil's trick
Horror audio in the digital age

recording to digital experiments. Moreover, in entering the contemporary world we discover that certain boundaries become less meaningful: web-based audio and podcast facilities (even the ostensible ‘catch up’ functionality of the BBC iPlayer) have created a listenership that can listen ‘on-demand’ rather keep its ‘appointment’ with a programme. Likewise, although this book has been framed as a study of a

in Listen in terror
Abstract only

differentiation between moral, rational and useful work and useless, wasteful, unproductive spending no longer has any relevance ( Goux, 1990b ). Things are produced for no reason other than that they might be bought, objects on which money can be expended: it does not matter whether they are useful or not. Entrepreneurs become benefactors as much as exploitative manipulators: they create what people want to buy. For Goux, the crucial

in Limits of horror
Abstract only
H. P. Lovecraft and the cinema

conditions, atmospheres, appearances , and things of that kind. (Quoted in de Camp, 1975 : 348, original emphasis). As Michel Houellebecq states, Lovecraft perceived the futility of all psychological differentiation. His characters no longer required it; all they needed

in Monstrous adaptations