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Abstract only
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
Christopher Lloyd

wanting, Home nonetheless opens up an Iowan home to forces and feelings about race, family, and nation that cannot be contained or ignored. The home-spaces of Robinson's novel require readers to dwell on twentieth-century America as it is ruptured and troubled from within. Home quietly and emotively disturbs domestic and public spaces in very open-ended ways. Notes 1 By cultural memory, I mean

in Marilynne Robinson
Abstract only
A history of northern soul

This book is a social history of northern soul. It examines the origins and development of this music scene, its clubs, publications and practices, by locating it in the shifting economic and social contexts of the English midlands and north in the 1970s. The popularity of northern soul emerged in a period when industrial working-class communities were beginning to be transformed by deindustrialisation and the rise of new political movements around the politics of race, gender and locality. The book makes a significant contribution to the historiography of youth culture, popular music and everyday life in post-war Britain. The authors draw on an expansive range of sources including magazines/fanzines, diaries, letters, and a comprehensive oral history project to produce a detailed, analytical and empathetic reading of an aspect of working-class culture that was created and consumed by thousands of young men and women in the 1970s. A range of voices appear throughout the book to highlight the complexity of the role of class, race and gender, locality and how such identities acted as forces for both unity and fragmentation on the dance floors of iconic clubs such as the Twisted Wheel (Manchester), the Torch (Stoke-on-Trent), the Catacombs (Wolverhampton) and the Casino (Wigan).

The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González and Susan Lord

mediation by which to literally ‘see’ the emergence of a new subjectivity. In Mi aporte , women are often at thresholds; in De cierta manera , the privacies of race and gender enter the classless streets as the grey years were restricting the spaces of civil society. These spaces are arguably about deterritorialising the boundaries of domestic and public space through the dynamic transformation of

in Hispanic and Lusophone women filmmakers
Rowland Atkinson and Sarah Blandy

others) to produce new forms of ‘privately owned public space’. Such shifts signal broader changes in the way we conceive the place of the self in relation to domestic and public space, as well as how we deal with otherness in spaces outside the home. Instead of socially diverse, exciting and authentic street spaces, we have created ‘non-places’, substituting our associations of danger with anodyne, riskless and bland spaces of consumption activity, but through which the private living room has become a template for the design and control of public spaces. Perhaps

in Domestic fortress
Megan Smitley

temperance reformers and other reforming women further adapted domestic space, the domain most strongly associated with femininity in Victorian and Edwardian gender ideology, to their goals in the public sphere. The widespread practise of drawing-room meetings provides some of the clearest evidence for the permeability of domestic and public spaces. Juliet Kinchin’s study of the drawing-room helps to highlight the ‘public’ nature of the drawing-room, while Eleanor Gordon and Gwyneth Nair have cited evidence from the Claremont estate area of Glasgow to argue for the home as

in The feminine public sphere
Stephen Catterall and Keith Gildart

be a relationship between locality, occupation, class and soul music. As noted already, listening to music and dancing were features of domestic and public spaces; music soundtracked everyday lives and offered perspectives and narratives related to notions of love, loss, belonging and solidarity.32 Popular songs would be collectively performed in the colliery showers, on the bus to the town centre, in cars on the way to the seaside and on summer outings organised by employers. The apparently superficial nature of much popular music and of the more commercial Motown

in Keeping the faith
Sara Mills

environment played a key role in the sense of this interrelatedness of domestic and public space. Bungalows were developed for the colonial zone; and across Africa and India, these one-storey buildings were the commonest form of domestic colonial architecture. They were always surrounded by a veranda, a very open sort of private space, where traders could be received and shopping/bargaining could take place, and where friends could be entertained (King, 1976). There was more time for relaxation and entertaining partly due to the absence of children within these communities

in Gender and colonial space