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Susanne Becker

’ becomes radically unheimlich : neo-gothic defamiliarising often means enforcing the familiar, the domestic, everyday experience, to an excess. By contrast, Frankenstein has early used the contextual experience of encountering strangers or ‘Others’, as well as the narrative conventions of placing central figures in an elaborate familial web, and first-person narration

in Gothic Forms of Feminine Fictions
T. E. van Spanje
Bulletin of the John Rylands Library
Katherine Fierlbeck

Democracy is seen to exert a globalizing force upon the international community; yet its most enthusiastic proponents argue that it must be a localized, grassroots phenomenon to be of any value. Modern democracy appeared originally within the context of a sovereign state system and required state autonomy in order to preserve democratic institutions. The increasing unwillingness to challenge normative claims made in the political arena, especially within disparate cultural contexts, was a disservice perpetuated by the discipline. The long-standing debate in international relations theory between 'realists' and 'idealists' filtered into the democratic transformation debate. The complexity of the debate was compounded insofar, as the objective commonly accepted by most participants in the debate was itself a manifestly normative construct. The current fascination of international relations theorists in the spread of democratic regimes seems to be more intensely fixed upon the relationship between democracy and peace than upon democracy and wealth.

in Globalizing democracy
Open Access (free)
Digital Bodies, Data and Gifts
Kristin Bergtora Sandvik

‘gifting’ from beneficiaries to humanitarian actors and their partners. The article therefore offers a set of contextual framings: in Section 2, the expanding capabilities of tracking devices and their proliferation across societal domains are linked with the emergence of ‘digital beneficiary bodies’. In Section 3, to illustrate the importance of seeing wearables in the context of the humanitarian past, there is a brief account of the history of wristbands in refugee

Journal of Humanitarian Affairs
The Compliment of Getting Stuck with a Fork
J. J. Murphy

Dismissed by most critics, including even those sympathetic to alternative cinema, Harmony Korine‘s Gummo (1997) presents a tabloid look at the dark underside of adolescence. It aims to provoke its audience by pushing the boundaries of acceptable good taste. In Gummo, Korine employs a more experimental collage technique in which scenes are linked, not by the cause and effect of conventional plot, but by the elusive logic of free association. This essay contextualizes Korines work within skateboard culture and the recent Modern Gothic trend toward creepy, angst ridden, and death-obsessed work by younger contemporary American artists. It argues that Gummo‘s real achievement rests on its unusual narrative syntax – the way Korine is able to weave together the films disparate scenes and events to create a viscerally assaulting, Modern Gothic portrait of the notion of “difference” in its various manifestations.

Film Studies
Steven Peacock

This article offers an alternative to the predominant and pervasive theoretical approaches to discussing time in film. It adheres to ordinary language, and moves away from a ‘mapping’ of theoretical models or contextual analysis to concentrate on a films specifics. It considers the particular handling of time in a particular film: The Age of Innocence (Martin Scorsese, 1993). Fixing on specific points of style, the article examines the interplay of time and gesture, and the editing techniques of ellipses and dissolves. Both the article and the film hold their attention on the intricacy and intimacy afforded by moments, as they pass. Both explore how the intensity of a lovers relationship over decades is expressed in fleeting passages of shared time. In doing so, the article advances a vocabulary of criticism to match the rhetoric of the film, to appreciate the works handling of time. Detailed consideration of this achievement allows for a greater understanding of the designs and possibilities of time in cinema.

Film Studies
Robert Oscar Lopez

I will read John Winthrop‘s Model of Christian Charity against and through Edgar Allan Poe‘s poem ‘The City in the Sea’. Winthrop and Poe both localize a ‘city’ to represent an extreme form of society. The koine Greek of Matthew 5 uses the word polis to describe a ‘city on a hill’. Christ says this city must not be hidden, but rather should shine so that the world may see it. The New Testament‘s merging of ‘politics’ and ‘city’ in the word polis makes it unsurprising that many Anglophone writers invoke ‘city’ in a title or phrase when making political innuendoes. Winthrop was a devotee of scripture, and Poe knew Greek, so their allusions to a representative human city are fraught with cultural meaning. To contextualize and compare their particular evocations of the city metaphor, I incorporate the theories of Edward Said and present cross-references to Eugène Delacroix, the prophecies of Ezekiel, and Shelley‘s poem ‘Ozymandias’. The Holy Land is at once fixed in the exotic Middle East yet necessary for America‘s quotidian social mores. Winthrop and Poe romanticize, appropriate, and exploit Middle Eastern symbolism. The interesting twist, however, is that Poe Orientalizes Winthrop‘s city on a hill, and in so doing, he Orientalizes Winthrop, and perhaps America‘s own religious fanaticism.

Gothic Studies
A Model for Historical Reflection in the Humanitarian Sector
Kevin O’Sullivan and Réiseal Ní Chéilleachair

words, in which it was possible to think historically about what did and did not work in the field, what contextual factors shaped decision-making processes in humanitarianism and whether the outcomes of those decisions – some of which had decades-long consequences and influenced humanitarian policy on a global scale – were expected. Having established those broad challenges, we set about developing a model of reflective practice that would help answer them. Early in the process, we made

Journal of Humanitarian Affairs
Open Access (free)
Architecture, Building and Humanitarian Innovation
Tom Scott-Smith

the sensitivity of the aesthetics. Architects are trained to think about homes as deeply contextual, rooted in iterative processes of design. The result may indeed by utopian and unworkable, but it is very different from the work of innovators and humanitarian product designers, who focus instead on universal shelters for global distribution, on meeting minimum standards at the lowest possible cost and who often fetishise the object, searching for the big and ‘game changing

Journal of Humanitarian Affairs
Open Access (free)
Humanitarianism in a Post-Liberal World Order
Stephen Hopgood

practicality prevents it). This is the same foundational commitment that animates human rights work. The humanist core to both of these forms of social practice is a similar kind of belief in the ultimate priority of moral claims made by human beings as human beings rather than as possessors of any markers of identity or citizenship. What differences exist between humanitarianism and human rights are largely sociological – the contextual specifics of the evolution of two different forms of social activism. I have argued elsewhere, for example, that the

Journal of Humanitarian Affairs