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Gothic Melodrama and the Aesthetic of Silence in Thomas Holcroft‘s A Tale of Mystery
Diego Saglia

Focusing on melodrama and on Thomas Holcroft‘s exemplary A Tale of Mystery (1802) in particular, this essay proposes a reinterpretation of Gothic drama and theatre as constitutively characterized by interruptions of comprehension. The tribulations of its persecuted protagonist Francisco are read in the context of the court trial of a real-life Francisco, who lived in London in 1802 and was one of the ‘stars’ in contemporary newspaper reports from the Old Bailey. Combining different generic and tonal modes, Romantic-period Gothic melodrama capitalized on explicitness and hyperbole, as well as on materializations of ethics and sentiment through their overt exhibition on stage or ‘ostension’. At the same time, it emphasized absence, silence, dematerialization and dissolution. With its continuously deferred revelations,and ostensions of the unsaid, A Tale of Mystery is a significant investment in an aesthetic of the unsaid that is central to a definition of Gothic on stage.

Gothic Studies
Open Access (free)
Beckett’s television plays and the idea of broadcasting
Jonathan Bignell

as working through the non-communication inherent in the nature of broadcasting itself, where messages may not arrive, may not be understood or may fail to produce a desired effect. In a European broadcasting context, the relationship of sender Into the void 133 and addressee takes a specific form. The notion of broadcasting as the casting of seed that may fruitfully grow in the soil of the audience community is evident in the British concept of Public Service Broadcasting, where the universally available broadcast of material considered socially valuable, like

in Beckett and nothing
Abstract only
The Spanish Tragedy IV.iv in performance
Tony Howard

where he didn’t. Readers, however – including future directors – first encounter this strange conflated text, a nightmare of non-communication, which takes the chaos of the Babel scene even further and indeed seems prepared for, in the 1602 Painter scene: PAINTER :     And is this the end? HIERONIMO :     O no, there is no

in Doing Kyd
Christoph Knill and Duncan Liefferink

, recourse to court proceedings is therefore considered as a very last resort. (Jordan 1999, 81) For instructing infringement proceedings, three constituent facts are to be distinguished: (1) the non-communication of transposition measures in the member states; (2) the incorrect or Implementation effectiveness 149 incomplete transposition; and (3) the incorrect application of Community law. While the first two aspects refer to the formal transposition, the third factor relates to the practical application of Community law. Table 7.1 Investigative criteria for the

in Environmental politics in the European Union
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Peter M. Jones

–technology interface could not be automatically bridged in this fashion. Much depended on cultural and institutional contexts, and when we look to Europe for comparators it is evident that formidable barriers to savant communication continued to subsist well into the nineteenth century. Indeed, the failure to communicate and wilful non-communication of knowledge ‘secrets’ remained a besetting problem even during the high decades of the European Enlightenment. It could put men such as Matthew Boulton and James Watt who asserted a claim to the status of savants as well as

in Industrial Enlightenment
Linguistic difference and cinematic medievalism
Carol O’Sullivan

subtitled foreign language use is characteristic of films whose primary preoccupation is authenticity (or the lack of it). Subtitles are, of course, by no means the only way of negotiating language difference. In facilitating the viewer’s understanding of foreign language dialogue, subtitles paradoxically elide translation; they deny the non-communication, the incomprehension which is the source of the

in Medieval film
Jean-Luc Nancy on thinking and touching art
Johanna Malt

contrary, the mouth and the look are turned forward in parallel, turned into the distance, toward an infinite perpetuation of their double and incommunicable position. Between mouth and eye, the entire face oscillates. (p. 75) Indeed, this evocation of mouth and eye and of word and image held in a grimacing mask of non-communication that transfixes the onlooker as it dances in the wind of expression certainly looks very much like an account of ekphrastic fear. Isn’t the Oscillator simply another Medusa – a ghastly scarecrow that stops the desiring viewer in his or her

in Ekphrastic encounters
Gemma King

and German dialogue. However, perhaps the most striking example of multilingual interwar French cinema is Jean Renoir’s 1937 First World War prisoner-of-war film La Grande Illusion, in which ‘language differences are a cause and a symbol of non-communication from the start’ (O’Shaughnessy 2000: 128). In La Grande Illusion, almost equal parts of English, French and German, with an excerpt or two of Russian and some references to Latin, are spoken. Michaël Abecassis remarks upon the centrality of language in Renoir’s film: Jean Renoir has exploited the issue of

in Decentring France
The Pumpkin Eater (1964)
Neil Sinyard

to the house. The phone is left to ring unanswered. It is only in this opening sequence that I am reminded of Antonioni: the use of silence, pauses and space concisely suggests alienation and non-communication in the manner of the opening sequence of Antonioni’s The Eclipse (1962). The rest of the film – in what Pauline Kael described as a ‘remarkable study of modern sexual tensions’ 16 – seems to me more akin to Bergman

in Jack Clayton
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Redistributing strategic resources
Scott James

tends to be more us helping the Cabinet Office rather than the other way around, and that is taken to its extreme in the case of the FCO . . . The Cabinet Office doesn’t really have much of an input other than on cross-cutting issues . . . During the Presidency I’ve got a suspicion that we didn’t talk to the Cabinet Office once in six months. 58 This power was further entrenched, according to one former senior official, by a deliberate strategy of ‘non-transparency’ and ‘non-communication’ with other network players, with Treasury officials

in Managing Europe from home