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Corporate medical horror in late twentieth-century American transfer fiction
Sara Wasson

antagonist. Furthermore, the camera frames and contains her within multiple barriers ( Figure 2 ). Threatening musical cues continue to build over images of the internal peripheral spaces of both institutions, operating as affective triggers. Figure 2 Corridors. Film still from Coma , dir. by Michael Crichton (US: Metro Goldwyn-Mayer, 1978) These passages may be approached by considering both the phenomenology of the spaces themselves and the historical legacies of buildings with such designs, which have long functioned to control and discipline bodies

in Transplantation Gothic
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Bodies dis(re)membered: Gothic and the transplant imaginary
Sara Wasson

says of his own writing, this kind of historicist criticism ‘searches an area that lies somewhere in the borderlands between literature and history, between “representation” and reality’, 44 and as his cautious quotation marks indicate the distinction between reality and representation is hardly stable; reality is discursively constituted. To describe the logics of such ambiguous discursive positions, critics often combine social constructionist studies of the social workings of power with theories about subjectivity, such as phenomenology or Lacanian psychoanalysis

in Transplantation Gothic
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Blake, Milton, and Lovecraft in Ridley Scott's Prometheus
Jason Whittaker

theorists concerned with speculative realism, many of whom take up Houellebecq's challenge to reconceive our investigations of ‘concept horror’. 20 In ‘On the Horror of Phenomenology: Lovecraft and Husserl’, Harman uses Lovecraft to argue against a normative function of philosophy, suggesting instead that rather than being used ‘as a rubber stamp for common sense and archival sobriety … philosophy's sole mission is weird

in William Blake's Gothic imagination
Kelly Jones

the Gothic’ because of their ability to exploit ‘the manipulation of real-time experience within a Gothicised space’ (McEvoy 215). If we expand upon this, then the immersive and experiential nature of site-specific performance, manipulating the phenomenology of time and space, can elicit, amongst its spectators, a sensual, primal, and thrilling biological response to the production, as Kathleen Irwin explains: where physical traces of a building’s past operate metaphorically to render absent present [ sic ] and

in Adapting Frankenstein
Tom Waits’s Bone Machine
Steen Christiansen

Gotta Get Out of This Place: Popular Conservatism and Postmodern Culture , New York: Routledge. Ihde, D. (2007), Listening and Voice: Phenomenologies of Sound , 2nd edn, Albany: State University of New York Press. Jacobs, J. S. (2000), Wild

in Monstrous media/spectral subjects
Constructing death constructing death in the 1790s–1820s
Andrew Smith

mourning Terry Castle accords Radcliffe’s The Mysteries of Udolpho a special place in the development of a post-Romantic model of the self that underpins Freud’s idea of the subject. She claims that ‘ Udolpho was more than simply fashionable; it encapsulated new structures of feeling, a new model of human relations, a new phenomenology of self and other’ (p. 125). This was

in Gothic death 1740–1914
The gothic potential of technology
Lisa Mullen

image of the whole self, but precisely the kind of non-identical mismatch between subject and object which would facilitate social and political rupture. Gilbert Ryle had been Adorno’s supervisor at Oxford University in 1935, while he worked on a dissertation which attempted a critique of the ‘resigned, late bourgeois character of phenomenology’. 120 Adorno respected Husserl’s thought as ‘the final serious effort on the part of the bourgeois spirit to break out of its own world, the immanence of consciousness, the sphere of constitutive subjectivity’, but only a

in Mid-century gothic
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Defining the ecoGothic
Andrew Smith and William Hughes

with the trees’, being subsumed into a different life which is only barely comprehensible to the fellow humans whom he has left behind. In the course of the discussion, Punter examines the relations between nature and spirit in relation to similar concerns found in Hegel, principally in The Phenomenology of Mind (1807) and Lectures on the Philosophy of Religion (1821–31). Punter draws

in Ecogothic
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Nature and spirit
David Punter

), Thinking with Animals , pp. 121–36; and Anthony L. Podberscek, Elizabeth S. Paul and James A. Serpell, Companion Animals and Us: Exploring the Relationships between People and Pets (Cambridge: Cambridge University Press, 2005). 33 See Georg Wilhelm Hegel, for example, The Phenomenology of Mind (1807), trans. J. B

in Ecogothic
Isabella van Elferen

most important components of Goth subculture. Goth music expresses the melancholic not-belonging, the nostalgic glance and the evasive subjectivity that characterises the subcultural capital. While Goth lyrics speak of loneliness and faraway realms, the music accompanying them offers subtle glimpses of other times and places. Music’s ephemeral phenomenology, however, ensures that these fantasy realms

in Globalgothic