Casting the subject of enterprise: children as
‘architects of their futures’
As with the previous chapter, I am going to begin this chapter by jumping
straight into the thick of things, that is, a pedagogical programme called
BizWorld. My own (indirect) encounter with BizWorld was occasioned as
a resident and parent in a rural community in the West of Ireland during
the 2015/16 school year. Sixth Class children (typically 12–13 years old)
attending a local primary school were given an information sheet to take
home to parents/guardians (myself among them
This article examines the effects of distracted sight, peripheral objects and hazily-perceived images in the ghost stories of M. R. James. It argues that the uncanny illumination produced by the accidental glance in his tales bears affinity with many Gothic narratives, including those of E. T. A. Hoffmann and Margaret Oliphant. James‘s work has often solicited only a casual look from critics, yet his exploration of the haunted edge of vision not only grants his work a hitherto neglected complexity, but also places him firmly within the Gothic tradition.
New legislative contexts for twentieth-century burial
3981 Churchyard and cemetery:Layout 1
‘Casting into the great crucible of the
present ferment all manner of timehonoured traditions’:1 new legislative
contexts for twentieth-century burial
This chapter acts as a vantage point and looks back to survey
the changes which the Burial Acts and other developments
had brought to central North Riding by the end of the nineteenth century, and then forward to consider the new
legislative contexts for burial in the twentieth. It is important
to stress that any change, where it happened, was
Truman Capote, Breakfast at Tiffany‘s and Hollywood
This essay examines some of the literary and biographical models Truman Capote drew
on in the creation of Holly Golightly, the heroine of his 1958 novella Breakfast at
Tiffany‘s. Making use of Paramount studio records, the essay also explores the
complex process of adapting the story to the big screen. Numerous changes were made
so as to transform Capotes story into a romantic comedy, and thus to contain Holly‘s
liberated sexuality while also erasing any doubts about the male protagonists
heterosexuality. Casting Hepburn as the female lead helped to neutralize Holly‘s
sexual transgressiveness, and it sexualized the stars ethereal persona.
Unlike Romantic authorship, the Gothic author has long been identified with unoriginality. A foundational moment in this association can be found in the reception of the original Gothic plagiarist, Matthew Lewis. Critics not only condemned Lewis for apparently usurping other authors property in The Castle Spectre but also did so by casting him as his own usurping villain. This parallel between Gothic conventions and critical language suggests that the Gothic might have played a crucial role in the history of our concepts of intellectual property, and particularly in the development of the now-familiar figure of the criminalized, and vilified, plagiarist.
In 1805 Susannah Middleton travelled with her husband, Captain Robert Middleton,
to Gibraltar where he was to run the naval dockyard. Abroad for the first time,
Susannah maintained a regular correspondence with her sister in England. Casting
light on a collection of letters yet to be fully published, the paper gives an
account of Susannah‘s experiences as described to her sister. Consideration is
given to Susannah‘s position as the wife of a naval officer and her own view of
the role she had to play in her husband‘s success. Written at a time when an
officers wife could greatly improve his hopes for advancement through the
judicious use of social skills, the Middleton letters provide evidence of an
often overlooked aspect of the workings of the Royal Navy.
This essay examines The Lair of the White Worms cultural logic, its mobilization of that dense network of specific historical references - to mesmerism, physiognomy, alienism, degeneration, and theories of race - which underlies so much of Bram Stoker‘s output. It is argued that Stokers last novel can serve as a kind of summa for Stoker‘s entire oeuvre, casting a retrospective eye over precisely those ethnological concerns that had animated his writings from beginning to end. For, in Stoker‘s imaginary the monstrous is always inscribed within a topography of race that his novels at once challenge and confirm by bringing pressure to bear on the whole scientific project of a general anthropology at its most vulnerable point: the distinction between the human and the near-human, between the species form and its exceptions.
A New Spatiotemporal Logic in James Baldwin’s The Evidence
of Things Not Seen
Özge Özbek Akıman
This article examines James Baldwin’s late text The Evidence of
Things Not Seen (1985) as one of his substantial attempts at
“forging a new language,” which he tentatively mentions in his
late essays and interviews. As an unpopular and difficult text in
Baldwin’s oeuvre, Evidence carries the imprint of a new
economy of time, casting the past into the present, and a new economy of space,
navigating across other geographies in appraising the serial killings of
children in one of Atlanta’s poorest Black neighborhoods. This article
suggests that a new economy of time emerges earlier in No Name in the
Street (1972), as a result of Baldwin’s self-imposed exile
in Europe. The article then analyzes his spatiotemporal logic in the specifics
of Evidence with reference to a Black middle class,
urbanization, the ghetto, gentrification, and other colonized spaces.
Through the prisms of psychoanalysis and narrative theory the article addresses the concepts of temporality and transgenerational phantom in Elizabeth Gaskells Gothic piece ‘The Poor Clare’ (1856). Gaskells text, which revolves around an ancestral curse, is but a loose repetitious narrative characterized by the circularity of its structure and tone – its end casting one back into its middle – with its narrator narrating the past locked into the present, which is completely determined by the future, by the curse to be fulfilled. Narration becomes unsettling and obsessional, revealing the texts shared phantoms/foreign bodies as these implicate the characters and the narrating persona in a complex web of unconscious identifications and psychic splits, eventually coming to congeal around the biblical prophecy: ‘the sins of the fathers shall be visited upon the children’. In being reiterated throughout, the cryptic and (encrypted) words reaffirm both the efficacy of the curse –which always already doubles back on the one that has hurled it – and the texts playing out of desire and trauma, thus rendering the celebrated subject of the Enlightment both an ailing subject and an alien to itself.
An Interview with Celso Amorim, Former Brazilian Foreign Minister
time in modern history, the major global power – I am of course referring to the US
– doesn’t have a project for the world. It is evident that the US has always
defended its own interests, but it always imagined or at least presented its interests –
I’m not casting a value judgement here – as linked to a project for the world.
Following the Second World War, it was the Americans who assumed primary responsibility for the
creation of the international system, starting with Roosevelt. Some international institutions
were accessible to all