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156 7 Troubling appropriations: Pedro Paterno’s Filipino deployment of French Lamarckianism Megan C. Thomas Pedro Paterno causes trouble as a historical figure. On the one hand, he is sometimes considered a national hero of the Philippines. The son of one of the early critics of Spanish colonial practices, Paterno worked to raise the profile of the Philippines in elite European circles, which was one of the strategies of the late nineteenth- century Filipino reform movement that preceded the Philippine Revolution of 1896. His writings extolled the virtues and
180 8 Colonial hesitation, appropriation, and citation: Qāsim Amīn, empire, and saying ‘no’ Murad Idris In a weak and servile nation, the word ‘no’ is little used. – Qāsim Amīn1 Saying ‘no’ and colonised thought The above epigraph appears in Aphorisms (Kalimāt), a posthumously published collection of notes and maxims by Qāsim Amīn (1863– 1908). An Egyptian jurist, political theorist, social critic, and supposed feminist, Amīn bemoaned the absence of the word ‘no’. Its absence, he implied, emblematised Egypt’s weakness and servile acquiescence, whereas its
2 Authenticity and appropriation: a discursive history of French popular music David Looseley T Introduction his chapter is about the meanings of popular music in France.1 Music fans generally believe they know what they mean by ‘popular’ and ‘pop’; but not all of us can readily say what that is. Here, I shall use ‘popular’ to refer to what are, today, industrially produced forms of music directed at and appreciated by a very large, or ‘mass’, audience. Such forms do not usually require any conventional musical competence or erudition; and they are easily
197 9 Ii The ethics of appropriation; or, the ‘mere spectre’ of Jane Eyre: Emma Tennant’s Thornfield Hall, Jasper Fforde’s The Eyre Affair and Gail Jones’s Sixty Lights Alexandra Lewis ‘We are, of course, not Victorian’, proclaim Ann Heilmann and Mark Llewellyn in their recent chapter ‘On the Neo-Victorian, Now and Then’ (2014: 493). ‘We are the Victorians. We should love them. We should thank them. We should love them’, concludes Matthew Sweet in his Inventing the Victorians (2001: 232). But what does it mean to ‘be’ (or not to be), to embody, or even to
This article describes the operational practices of the city morgue in Santiago, Chile and their effects on the family members who come to claim the bodies of their loved ones. It explores the impact of the body‘s passage through the morgue on the observance of rituals surrounding death and mourning. An underlying conflict can be identified between the states partial appropriation of and interference with the body and intrinsic needs associated with the performance of funeral rites in accordance with cultural and religious precepts.
Joseph Cornell: surrealist or symbolist? From 1932 until his death in 1972 Joseph Cornell produced a series of major works – boxes, collages, and films – expanding and transforming the idiom of surrealism through a profoundly American appropriation, deeply mediated by cinema. Cornell is best known for his boxes, rectangular shallow containers covered with glass that frame a variety of juxtaposed objects, images, and texts. These boxes recall surrealist objects, such as those showcased in the 1936 Exposition surréaliste d’objets , or the Dada objects of Kurt
This essay proposes that the polyphonic and transgressive aspects of Gothic forms are influenced by music. It examines formal connections between the sonnets of Sturm und Drang poet, Friedrich Hölderlin, their musical setting by Benjamin Britten, and Susan Hill‘s novel The Bird of Night, arguing that Hill and Britten have, in common, processes of writing or musical composition which mix together disparate discursive or musical components. These inter-genre borrowings suggest that the sound and compositional practices of certain types of music allow for the expression of tensions, dualities, transformations and extreme states of mind which the Gothic novel has developed its own tropes to express.
sensations to their new creative text (Albrecht-Crane and Cutchins 16). In this sense adaptations/appropriations are best considered as ‘responses to other texts that form a necessary step in the process of understanding’ (17); they may be understood as interpretations, ‘readings’, or ‘paths’ that adaptors chose to develop. Transposing a text into another medium also necessarily involves changing the discourse of the source text. Groensteen explains that a specific form of discourse is attached to each medium. ‘Each media’, he writes, ‘involves a
This article seeks to re-examine the arguments among early nineteenth-century Welsh Calvinistic Methodists about Calvinist beliefs. In particular, it uses the example of John Elias to explore the appropriation and re-appropriation of aspects of the theological heritage of the sixteenth-century Reformation in Wales. Examining the tensions between Calvinism‘s tendency to ever stricter interpretation and pressure in the late eighteenth and early nineteenth centuries to liberalize Calvinistic Methodisms position under the influence of evangelicalism, it argues that Elias emerged as a defender of the moderate Calvinism that had been forged by Howel Harris and Daniel Rowland in the previous century.
This article seeks to provide an account of the political biases at stake in the conceptualisation of medieval English history in Ethelwina, Or The House of Fitz-Auburne (1799), the first fiction of the prolific Gothic romancer-turned-Royal Body Guard T. J. Horsley, Curties. Having considered Curties‘s portrayal of the reign of King Edward III in the narrative in relation to formal historiographies of the period, the article turns to address the politics of Curties‘s appropriation of Shakespeare‘s Hamlet.