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Roger Luckhurst

This article investigates the role of the corridor in Gothic fiction and horror film from the late eighteenth century to the present day. It seeks to establish this transitional space as a crucial locus, by tracing the rise of the corridor as a distinct mode of architectural distribution in domestic and public buildings since the eighteenth century. The article tracks pivotal appearances of the corridor in fiction and film, and in the final phase argues that it has become associated with a specific emotional tenor, less to do with amplified fear and horror and more with emotions of Angst or dread.

Gothic Studies

Bringing together research on textual representations of various forms of positive feeling in early modern Europe, this collection of essays highlights the diverse and nuanced cultural meanings of happiness and well-being in this period, which is often characterized as a melancholy age. Interdisciplinary methodological approaches—informed by emotion studies, affect theory, and the contemporary cognitive sciences—provide various frames for understanding how the period cultivated and theorized positive emotions, as well as how those emotions were deployed in political, social, and intellectual contexts. Pointing to the ways the binary between positive and negative might be inadequate to describe emotive structures and narratives, the essays promote analysis of new archives and offer surprising readings of some texts at the center of the Renaissance canon. In addition to an introduction that provides an overview of work in contemporary studies of positive emotions and historical accounts of good feeling in early modern Europe, the book includes three sections: 1) rewriting discourses of pleasure, 2) imagining happy communities, and 3) forms, attachment, and ambivalence. The essays focus on works by such writers as Burton, Montaigne, Shakespeare, Traherne, and Webster, as well as on other kinds of texts circulating in the period. While focused on English writings, essays on continental writers contribute to a wider context for understanding these emotions as European cultural constructions. Finally, the volume offers windows onto the complex histories of happiness, well-being, humor, and embodiment that inform the ways emotions are experienced and negotiated in the present day.

Cora Fox

experiences of emotion. Exchanges that are successful promote and reinforce positive emotional experiences and bonds within the network, and the reverse is true of failed exchanges and the negative emotions they produce. Edward Lawler, ‘An affect theory of social exchange’, American Journal of Sociology 107, no. 2 (2001), 321–52. 8 All of these senses, and a few others, are suggested in the Oxford English Dictionary definitions of ‘will

in Positive emotions in early modern literature and culture
Abstract only
Cora Fox, Bradley J. Irish, and Cassie M. Miura

modern Europe. Positive emotions, historical texts In drawing attention to positive emotions, this collection participates in two larger intellectual projects and interdisciplinary scholarly movements. The first is what Sara Ahmed has termed a ‘happiness turn’ in contemporary affect theory, reflecting a developing popular cultural interest in happiness and well-being. 4 The ‘happiness turn’ is an expansion and intensification of the much larger ‘affective turn

in Positive emotions in early modern literature and culture
Rob Boddice

emotions. Faces, bodies and basics Ekman was inspired by the work of Silvan Tomkins, the pioneer of ‘Affect Theory’. Affect Theory posits a transhistorical biology in which certain ‘affects’ – a word deployed explicitly to refer to that part of emotional behaviour which is innate, built in, hardwired and automatic – are connected to certain expressions of the face. By biologising the fundamental ingredients of emotional behaviour, it was also logical to situate that biology in the part of the body that literally faces outwards. The face becomes a

in The history of emotions
Myra Seaman

Melissa Gregg and Gregory J. Seigworth (eds), The Affect Theory Reader (Durham, NC: Duke University Press, 2010), pp. 31–​51 (31). 13 Sara Ahmed, ‘Affective Economies’, Social Text, 22 (2004), 117–​ 39 (119); emphasis added. This depiction of affective economies maintains the subject–​object distinction, which I  tend to read as an artificial boundary that gives opportunities for granting, to the objects that we determine deserve it, the status of subjects with an exclusive claim to agency. However, this is no limitation to Ahmed’s argument, for her particular

in Household knowledges in late-medieval England and France
Karen Fricker

while containing the potential for very different effects. I further argue that some of his shows, or parts of them, activate in viewers ‘an awareness of the political and ideological factors underlying perception’ (Woycicki 4), while others lack critical perspective on representational practices. I do so by bringing the existing scholarship on the effects of his work together with several related contemporary critical strategies. Considering Lepage’s work through affect theory and through Jacques Rancière’s conceptualisation of the emancipated spectator allows us to

in Robert Lepage’s original stage productions
Editors: Glenn Burger and Rory Critten

This collection of nine new chapters investigates how the late medieval household acts as a sorter, user, and disseminator of different kinds of ready information, from the traditional and authoritative to the innovative and newly made. Building on established work on the noble and royal ‘great household’, as well as on materialist historiography on rural and bourgeois domestic life, Household Knowledges considers bourgeois, gentry, and collegiate households on both sides of the English Channel. Arguing that the relationship between the domestic experience and the forms assumed by that experience’s cultural expression is both dynamic and reciprocal, the chapters in this volume address a range of cultural productions, including conduct texts, romances and comic writing, agricultural and estates management literature, devotional and medical writing, household music and drama, and manuscript anthologies. Contributors develop a range of methodologies, drawing on insights generated by recent manuscript scholarship as well as on innovations in affect theory and object relations theory; their chapters reconsider the constitution of the late-medieval urban and gentry home by practices of writing and reading, translation and language use, and manuscript compilation, as well as by the development of complex object–human relations and the adaptation of traditional gender and class roles. Together, the studies compiled in Household Knowledges provide a fresh illustration of the imaginative scope of the late medieval household, of its extensive internal and external connections, and of its fundamental centrality—both as an idea and a reality—to late-medieval cultural production.

Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

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.