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The Street, Moving On, Accused
Steve Blandford

Hybrid’ forms: The Street, Moving On, Accused 2 The decision to create a separate chapter for these three programmes is designed to highlight McGovern’s increasing tendency in his later career to both nurture new writers and push at the boundaries of television forms. All three programmes were made by independent production companies with McGovern acting in a producing as well as writing role, though as we shall see, he saw his contribution as being very much confined to the development of the ideas and the scripts rather than to production in any wider sense

in Jimmy McGovern
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The impossible machine
Elza Adamowicz

4 Hybrid bodies (I): the impossible machine Man made the machine in his own image. Paul B. Haviland (1915: 1) On 18 February 1918 at the Berliner Sezession on the Kurfürstendamm Richard Huelsenbeck declaimed his ‘Erste Dada-Rede’ on the occasion of the first Berlin Dada soirée. Art was, for him, contingent on the immediacy of contemporary events: ‘The highest art will be that which in its conscious content presents the thousandfold problems of the day, the art which has been visibly shattered by the explosions of the last week, which is forever trying to

in Dada bodies
Future Earth, co-production and the experimental life of a global institution
Eleanor Hadley Kershaw

6 Leviathan and the hybrid network: Future Earth, co-production and the experimental life of a global institution Eleanor Hadley Kershaw In the opening words of A Sociology of Monsters, John Law caricatures a middle-class white male, middle-aged, non-disabled person’s perspective on the history of sociology: ‘We founded ourselves on class; then, at a much later date we learned a little about ethnicity; more recently we discovered gender; and more recently still we learned something … about age and disability’ (Law, 1991: 1). Thus, the hypothetical sociologist

in Science and the politics of openness
John Hodgson

Postcolonial theory has yielded productive methodologies with which to examine an institution such as the John Rylands Library. This paper reinterprets aspects of the Library‘s history, especially its collecting practices, using Bhabha‘s concept of hybridity. The Library‘s founder, Enriqueta Rylands, embodied hybridity and colonial talking back in her remarkable trajectory from a Catholic upbringing in Cuba, via her conversion to Nonconformity and her marriage to Manchester‘s most successful cotton manufacturer, to her usurpation of the cultural hegemony in purchasing spectacular aristocratic collections for her foundation. Hybridity was embedded in many other aspects of the Library‘s development: it was established as a public library with a board of governors but its collections were largely shaped by Enriqueta‘s tastes and interests; it was independent until 1972, while maintaining very close links to the University of Manchester; it has always fulfilled a dual remit of addressing the research needs of scholars and attracting wider audiences; and it is simultaneously a library of printed books and manuscripts, an archive repository, and a gallery of visual materials.

Bulletin of the John Rylands Library
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The grotesque
Elza Adamowicz

5 Hybrid bodies (II): the grotesque From the day they are confirmed to the day they are blasted into the paradisiacal beyond, ‘people are pigs’. George Grosz and Wieland Herzfelde (1925: 19) Schwitters’s Merzbau (1919–37) Goethe’s leg; a dental bridge; the mutilated corpse of a young girl; a lover with a prosthetic penis; a bottle of Schwitters’s own urine; a brothel with a three-legged woman; a 10 per cent disabled war veteran with his headless daughter; a headless man and an armless woman embracing beneath the large head of a child ‘with syphilitic eyes

in Dada bodies
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Terry Phillips and Sue Zlosnik

The papers in this volume consider Gothic Ex/Changes, a concept at the heart of the essentially hybrid mode of Gothic, which constantly challenges prevailing orthodoxies. Papers foreground the confusion of boundaries and definitions of the human. A number take this examination of the hybrid into the realm of form and genre, including music and historiography. The analysis of Gothic in the collection demonstrates the way in which Gothic criticism has extended the subversive role of Gothic texts into the academy. It might be that as part of the ongoing process of change and exchange with a range of theoretical approaches, we are entering the period of ‘postGothic studies.’

Gothic Studies
Margaret C. Flinn

This article traces what Élie Faure believed to be the racial, ethnic and geographic origins of art. Influenced by the writings of Gobineau and Taine, he asserts that the taxonomisation of species provides a model for the taxonomisation of artistic productions. The mixing of various races is evidenced in their artistic production, with the relative presence or absence of the rhythmic serving as an index for the presence or absence of certain types of blood, or racial/ethnic origins. Similarly, the qualities of the land where art is produced results in visible effects upon the (artistic) forms created by the people living in that geographic area. Métissage is considered a positive characteristic, and cinema the apogee of modern artistic production because of its integration of machine rhythms into the rhythms of human gesture.

Film Studies
Beverly Louise Brown

Marcantonio Raimondis Il Sogno and Albrecht Dürers Sea Monster share a number of compositional similarities as well as a fascination with the bizarre. The association of monstrous forms as an omen of grave misfortune, including pestilence and war, was particularly common at the beginning of the sixteenth century. In Marcantonios engraving the chimeric monsters, billowing inferno and shooting star can be perceived as a graphic warning that by 1509 Venices world was in deep peril.

Bulletin of the John Rylands Library
Vampires and the Spectre of Miscegenation
Kimberly Frohreich

This article explores the trend in contemporary vampire media to highlight racially-charged issues, demonstrating a consciousness of the way the vampire has been used in conjunction with racial stigmatisation. While the traditional figure of the vampire spoke strongly to late nineteenth-,and early twentieth-century white American fears of miscegenation, I argue that some contemporary vampire narratives, such as Blade (1998), Underworld (2003), and True Blood (2008-), rewrite the figure in order to question and/or undo,the link between ‘monstrosity’ and racial otherness. Central to this task is not only the repositioning and characterisation of the vampire, but also — considering that the female body was once perceived as the locus for racial purity — that of the heroine.

Gothic Studies
An Interview with Caroline Abu Sa’Da, General Director of SOS MEDITERRANEE Suisse
Juliano Fiori

In this interview, Caroline Abu Sa’Da, General Director of SOS MEDITERRANEE Suisse, discusses search-and-rescue operations in the Mediterranean Sea, in particular those conducted by her organisation. She explains that as a European citizen movement, SOS MEDITERRANEE has adopted a hybrid and politicised approach, which represents a new kind of humanitarian engagement. And she reflects on the challenges of protecting and supporting those crossing the Mediterranean.

Journal of Humanitarian Affairs