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Marie Daugey

Until the beginning of the twentieth century, in the Kabye country, some heads of enemies – those of men foreign to the group – were buried in a mound of earth referred to as hude, meaning ‘manure’. In each locality, this mound is situated inside a wooded sanctuary where the spirit of the mythical founding ancestor resides. In order to understand this practice, this article examines how it fitted within the overall logic of the male initiation cycle, contextualising it in relation to past and present practices. Because it was a highly ambivalent element of the bush, the head of an enemy renewed the generative power of this original ‘manure’ prodigiously, so as to ensure the group’s survival in their land. The burial of the heads of strangers appears to be an initiatory variant of other forms of mastery of the ambivalence of wild forces, entrusted in other African societies to the chief and his waste heap.

Human Remains and Violence: An Interdisciplinary Journal
Sophie Belot

In French cinema, representations of girls have often been associated with films made by women, as demonstrated by Carrie Tarr with Brigitte Rollet (2001). They claim that the young girl is the major cinematographic topic for a woman’s first film, and names, such as Céline Sciamma in the late 2000s, Diane Kurys and Catherine Breillat in the 1970s, substantiate this position. However, Breillat’s A Real Young Girl was different, as it attracted critics’ acerbic reception and was subsequently banned for its open depiction of a young girl’s sexual experiences. It is argued that Breillat’s images of the young girl’s sexual initiation in the 1970s brings to the fore the significance of the idea of authenticity in relation to sex and cinema. Examining the representation of the ‘real young girl’ highlights the ideas of reflexivity and creativity attached to the existentialist notion of authenticity. This article aims to show that the young girl stands as a metaphor for Breillat’s auteurist approach to challenging existing filmic conventions.

Film Studies
Joseph Webster

these secrets are? And why is not knowing so tantalising, even tormenting? More specifically, within the context of contemporary Scots-Orangeism, how can we make sense of the seemingly contradictory combination of deliberately vociferous promulgation and steadfast ritual secrecy? What happens, for example, to the social and semiotic power of Orange emblems, which, while being central to the secret cosmology of ritual initiation, are also painted on banners several feet high and (literally) paraded through the streets of Edinburgh and Glasgow? And what happens to the

in The religion of Orange politics
Franco-Maghrebi identity in Hassan Legzouli’s film Ten’ja
Ramona Mielusel

France, his father’s only verbal ‘testament’ was to be buried in his native village, Aderj. Nordine’s journey is not only a return to his parents’ native land and roots, but also a personal journey of cultural initiation. In the course of his journey, he meets two young Moroccans, Mimoun and Nora, who become his friends, and he gets to know the inhabitants of the village where his father was born. The trip to Aderj, the father’s native village in the Atlas Mountains, is a transformative experience for him. This chapter attempts to outline the key moments in Nordine

in Reimagining North African Immigration
Bill Jones

, there was voter response and, finally, success, ultimately three times over. Whether parties can so cynically abandon any genuine idealism and merely pursue power through public relations and marketing is both controversial and dubious. Blair’s career suggests that, in the end, voters see through such strategies and are turned off by them. Voters still hope that their elected leaders subscribe to some worthwhile set of ideas. The policy cycle The many writers on policy studies disagree on most things but most accept the three-stage policy cycle of initiation

in British politics today
Gender adaptations in modern war films
Jeffrey Walsh

valuable in contributing to this project of recuperation. 3 A feminist alternative to the phallocentric genre of the war film has immense transgressive potential. War films, from The Big Parade (1925) to Saving Private Ryan (1998), have always privileged the male point of view, masculine initiation rituals, and male spectatorship. Such dominance is threatened by cinematic narratives

in Gender and warfare in the twentieth century
Abstract only
Sam George

speak of a flirtatious initiation into botanical knowledge. Mary Berry (1763–1852), the author and friend of Horace Walpole, who claimed to have learnt botany from Solander, was already familiar with botanical sexual innuendo, though she only employed this herself in private correspondence: I must at last own with blushes … I was

in Botany, sexuality and women’s writing 1760–1830
Abstract only
The Community Workers’ Co-operative
Joe Larragy

2007 126 Asymmetric engagement NESF as an opportunity to develop alliances with other national associations. With the Labour Party in coalition on its highest ever poll share, the Co-­op was better able to give added impetus to a broad equal status agenda alongside the expanding social inclusion agenda. The NESF was a significant stepping stone towards social partner status for the CWC. The following section reviews the process of becoming a social partner and the Co-­op’s initiation of the Community Platform, which it hoped would be recognised by government and

in Asymmetric engagement
Geoffrey Cubitt

a particular view of the past with a particular formative moment or phase in their existence; or that their knowledge of certain stories or pieces of information is connected to their memory of individuals by whom they were influenced or emotionally affected; or that their initiation into a social group to which they are powerfully attached has involved the acquisition of fluency in that group’s REMEMBERING IN SOCIETY 1111 2 3 4 5111 6 7 8 9 10111 11 1112 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 40111 123 understanding either of its

in History and memory
Patsy Stoneman

passage or initiation tests by which girls and boys become women and men, so Wives and Daughters begins with motherless Molly Gibson at the age of twelve (the conventional age for puberty), putting on new, festive clothes, leaving her father and home and entering the enclosed grounds of a house called The Towers, where she loses her godmothers, falls asleep, and is awakened by a lady with several names who will later become her stepmother. As ‘A Novice Amongst the Great Folk’ (Ch.2), Molly is shown adult life at its most stately and hierarchical. Lord Cumnor, who

in Elizabeth Gaskell