Buffy the Vampire Slayer has become a cult series. The show has been broadcast worldwide and vampire Spike has been travelling around the world; or rather his translated version has, reaching many destinations. In France there are two translated versions of Buffy, the Vampire Slayer, one dubbed and the other subtitled. This article examines the significance of Spikes Britishness against the American background where he lives. The analysis considers his performance in the original and in the translation to show how British Spike ‘sounds’ in French. The article ultimately reflects on Spikes vampiric otherness and how translation might be used to efface or reduce otherness.
This article engages with the discourse of food and eating especially as related to the representation of the abject eating-disordered body. I will be particularly interested in the gothic representation of the anorexic and bulimic body in samples of medical advice literature and NHS websites and how they reinforce popular myths about anorexia by imagining the eating disordered body as a fixed object of abjection. Focusing on the use of gothic devices, tropes and narrative structure, these imaginations will be read against alternative representations of anorexic/bulimic bodies in autobiographical illness narratives, fictional accounts and a psychoanalytical case history in order to explore how gothic discourses can help opening up new understandings and conceptions of illness, healing and corporeality in the dialogue between medical staff and patients.
Baldwin, Racial Melancholy, and the Black Middle Ground
This article uses Baldwin’s 1949 essay “Everybody’s Protest Novel” to consider that literary mode’s corollary in the 1990s New Black Cinema. It argues that recent African American movies posit an alternative to the politics and aesthetics of films by a director such as Spike Lee, one that evinces a set of qualities Baldwin calls for in his essay about Black literature. Among these are what recent scholars such as Ann Anlin Cheng have called racial melancholy or what Kevin Quashie describes as Black “quiet,” as well as variations on Yogita Goyal’s diaspora romance. Films such as Barry Jenkins’s adaptation of If Beale Street Could Talk (2018) and Joe Talbot and Jimmy Fails’s The Last Black Man in San Francisco (2019) offer a cinematic version of racial narrative at odds with the protest tradition I associate with earlier Black directors, a newly resonant cinema that we might see as both a direct and an indirect legacy of Baldwin’s views on African American culture and politics.
November 2019, PHR reported 588 attacks on 350 health facilities, out of which 530 attacks were committed by the GoS and its allies, including the killing of 914 personnel ( Physicians for Human Rights, 2019 ). The WHO’s SSA, since it was established in January 2018 until January 2020, has reported 228 attacks on healthcare in Syria ( WHO, 2018 ). The WHO, ICRC and international NGOs, on several occasions, have raised the alarm after spikes in attacks against healthcare in the Syrian conflict in the last few years, calling on all parties to the conflict to adhere to the
have been far from obvious: he
has taken on two of Hardy’s – and the nineteenth century’s
– bleakest protagonists in making Jude and The Claim ,
and no one filming Tristram Shandy could be said to opt for the
easily accessible. When he has made road movies, they have been spiked with
terminal pain in each of Butterfly Kiss , In This World and
The Road to Guantánamo , and in the latter two at least, crossed
centred around Spiked magazine. The purpose of this chapter is to examine the methods and manners of the cynical scandal-mongers, most notably their powerful and sadistic hatred of students.
What is a trigger warning and why do they trigger the right?
Trigger warnings were originally a part of treatment for post-traumatic stress disorder (PTSD) and related conditions, based on the recognition that specific ‘triggers’ such as smells and sounds can induce flashbacks and panic attacks. More recently, the term ‘trigger warning’ has expanded to encompass what I would
largest increase in familial killings were instances
of ‘mercy killings’ of sick or aged family members and women’s
deaths resulting from abortions, with murders committed by parents
decreasing and spousal murders remaining fairly constant until
the post-war reunion spike in 1945–46. The geography of wartime
domestic crimes encompassed the entire city in a noticeably broader
sweep than pre-war cases, taking place in shared private spaces
ranging from rented rooms to flats to suburban villas. What these
suspicious deaths have in common is a domestic situation that had
French philosopher Michel de Montaigne (1533–92) famously said that facing our mortality is the only way to properly learn the ‘art of living’. He was right. This book is about what we can learn from COVID-19 about the art of living, as individuals but also collectively as a society: this crisis could potentially change our lives for the better, ushering in a more just society. The book will explore a number of key themes through philosophical lenses. Chapter 2 asks whether coronavirus is a misfortune, or an injustice. Chapter 3 focuses on the largest cohort of victims of coronavirus: people in old age. Chapter 4 asks whether life under coronavirus is comparable to life in the so-called ‘state of nature’. Chapter 5 explores the likely impact of coronavirus on the global phenomenon of populism. Chapter 6 investigates the relationship between post-truth and coronavirus. Chapter 7 focuses on the role of experts during this crisis. Chapter 8 looks at the spike of incidents of domestic violence during the lockdown via an analysis of Sally Rooney’s Normal People. Chapter 9 explores four key lessons that must be learned from the COVID-19 crisis: that politics matters; that central states are necessary; that taxation is important; and that radical reforms, including the introduction of a universal basic income, are crucial. Chapter 10 considers what philosophy can contribute to the debate on COVID-19, and why we have a moral duty not to become ill.
Transformations, vampires and language in Buffy the Vampire Slayer
the plot. There are conventional vampires,
reminiscent of Bram Stoker’s Count Dracula, such as the Master in
Season One or Dracula himself in Season Five; more contemporary
vampires, like Darla (Season One) or Spike and Drusilla (from Season Two
onwards); as well as ‘good’ vampires, who have a soul and
do not kill, like Angel (from Season One) and Spike (as he has become by
the final season). It is
This chapter scrutinises Hispanophobia in the historiography of the reign,
arguing that not only has it overshadowed any positive reassessment but that
it essentialises xenophobia as defining early modern England and reinforces
the Black Legend denigration of Spain. It challenges alleged English
insularity, pointing to accusations of devotion to everything foreign and
embracing diversity. It both examines how the Marian period was invoked
under Elizabeth and the role played by the architects of her religious
settlement in fostering this image, and demonstrates that the co-monarchy
saw no spike in Hispanophobia, but rather a tinge of nostalgia. Despite
clever redeployment of anti-Spanish tropes, including associating Spain with
Islam and Africa, Philip and Mary’s reign divided opinion and reflected