Search results
4 Schooling fears Introduction The previous chapter discussed how some parents found the process of choosing schools very stressful. These stresses were expressed by parents from a variety of backgrounds – in terms of both class and ethnicity – and in all areas of the study. Parents in part put this stress down to the frustration at the experience of being given the responsibility to make a choice yet finding that there were only one or two schools to choose between. At the same time, many parents had exercised a choice in terms of where they chose to live
5 Disorder and fear Fear, as both a motivation for and tactic of security, occupies an important place in cultural politics. Security can be understood positively as the struggle to generate or protect the social order, moral worth, and the citizenry, or negatively as struggling against or dealing with threats. Security films reiterate conceptions of order, virtue, authority, and safety on one hand, as against disorder, impropriety, social rifts, and danger on the other. In this chapter and the next, we turn to this second side of security films. When security
5302P Democracy MUP-PT/lb.qxd 1111 2 3 4 5111 6 7 8 9 10111 11 12 3111 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40 1 42111 23/10/09 16:09 Page 199 9 From fear to democracy: towards a politics of com-passion Dorota Glowacka Majority does not mean large number, it means great fear. Jean-François Lyotard (1924–98) So love may well be called the perpetual bond (nodus) and juncture (copula) of the world. Marsilio Ficino (1433–99) The affective pitfalls of democracy In her influential work The democratic paradox (2000), the French theorist
‘I hope or think that I conform as little as possible.’ ( Rainer Werner Fassbinder ) 56 ‘Don’t mention foreign workers. It makes him see red.’ ( Krista ( Irm Hermann ), Fear Eats the Soul ) In his entry on Rainer Werner Fassbinder in The New Biographical Dictionary of
• 5 • Fear, wounding and death The overriding objective of the Allied forces in the Second World War was to fight the enemy: to defend areas under threat from Axis invasion and to liberate conquered territories.1 The resources that the British Army used for this were essentially human. The front-line soldier, whose body had been honed and primed for combat, now took his chances in battle. There all his skills, training and experience would be put to the test, and there he faced the prospect of being wounded or killed. Neil McCallum was deployed with the Eighth
challenge. Although scholars rarely acknowledge it, there are many aspects of medieval studies that have the capacity to strike fear and anxiety into the heart of anyone tackling the interpretation of medieval literature and culture, from aspiring student to learned professor. As a result of its deep imbrication with the technical disciplines of philology and palaeography, and in the shadow of its Latinate
3 Assuaging fears of monstrousness: UK and Swiss initiatives to open up animal laboratory research Carmen M. McLeod Suspicion always attaches to mystery. … The best project prepared in darkness, would excite more alarm than the worst, undertaken under the auspices of publicity. (Bentham, 1999 [1791]: 30) The relationship between animal laboratory research science (AR) and society has a particularly complex, contested and troubled history and is associated with secrecy and obfuscation. Various works in the literature show societal fears that scientific
The representation of women within Gothic narrative typically enabled a depiction of their sexuality that, within the parameters of actual cultural norms, had usually been suppressed. In these allegedly post-feminist times, the representation of women within narratives of fear, murder, and terror remains an area ripe for exploration by writers and critics. The key questions asked by this article are, firstly, why is the bond between the representation of womens sexuality and the language of violence so strong and, secondly, why are specifically Gothic techniques so frequently employed to illustrate this link? These issues are explored through detailed discussions of the works of Sarah Dunant and Siri Hustvedt, addressing aspects of gender, power, performativity, and abjection.
5 Fear, crime and the home The apathy of Sunday lay upon the streets. Houses were closed, withdrawn. ‘They don’t know,’ he thought, ‘those people inside, how one gesture of mine, now, at this minute, might alter their world. A knock on the door, and someone answers – a woman yawning, an old man in carpet slippers, a child sent by its parents in irritation; and according to what I will, what I decide, their whole future will be decided. Faces smashed in. Sudden murder. Theft. Fire.’ It was as simple as that. (Du Maurier, 1959: 10) The private home offers a
. Stephen 16 (Jackson Rathbone) and Cheryl (Hanne Steen) have a much closer relationship this time. It isn't Stephen, but a young boy named Joshua (Jonathan Readwin) who fears to be the prisoner of deafness once more insofar as he had temporarily lost his sense of hearing after an accident when he was young. Another interesting link to be made with The Midnight Meat Train movie