Mary Shelley‘s Frankenstein reflects both Romantic critiques of autonomy, as they have been recently defined by Nancy Yousef, and discourses of isolation and addiction as they appear in key texts by Samuel Coleridge and Charles Lamb. For Coleridge and Lamb, addiction leads to what current specialists often call ‘terminal uniqueness’, a feeling of isolation both incommunicable to others and incapable of being heard by a non-addicted audience. In its own portrayals of isolation, Frankenstein may be seen to intersect with these larger discourses of isolation, chemical dependence, and what Anya Taylor calls ‘the empty self ’ of Romantic addiction.
isolation from colonial and consular administration. Such isolation was common in the colonial world. As Zoe Laidlaw has shown, colonial governors were often left to themselves to assert their power and administer imperial directives. 39 For Macartney, his task also involved battling with a sovereign power, having no guaranteed legal rights and falling administratively between colonial and consular structures of governance.
Even when the Qing granted Macartney informal powers to hear cases involving British defendants, continued Chinese interference meant that he
letter identifies some of the difficulties that a colonial governor
faced: isolation from metropole and colonists; constant financial
pressure; professional uncertainty; and grinding hard work. Gipps
was lucky to have a confidant like Superintendent La Trobe separated
by only the week’s travel between Sydney and Melbourne. Many
other governors were far
The new wave of Korean cinema has presented a series of distinct genre productions, which are influenced by contemporary Japanese horror cinema and traditions of the Gothic. Ahn Byeong-ki is one of Korea‘s most notable horror film directors, having made four Gothic horrors between 2000 and 2006. These transnational horrors, tales of possession and avenging forces, have repeatedly been drawn to issues of modernity, loneliness, identity, gender, and suicide. Focusing on the figure of the ghostly woman, and the horrors of modern city life in Korea, this essay considers the style of filmmaking employed by Ahn Byeong-ki in depicting, in particular, the Gothic revelation.
Although Catherine Livingston Garrettson (1752–1849) initially encountered feelings of isolation upon converting to Methodism, she discovered that the written word allowed her to engage in relational rather than solitary religious experiences. Over time, the written word helped her create a web of meaningful ties with imagined and actual kin and motivated her to form, develop and foster additional relationships in multiple contexts. Garrettson’s story thus demonstrates the need to consider how the real and imagined communities encountered through reading and constructed through writing have played a role in the spiritual development of early American women. Indeed, women’s experiences serve not simply to explain aspects of American social development, but to illuminate their broader world of connections – familial, religious, social and literary.
The Face of the Star in Neorealisms Urban Landscape
Although Europa 51 (1952) was the most commercially successful of the films Roberto
Rossellini made with the Hollywood star, Ingrid Bergman, the reception by the Italian
press was largely negative. Many critics focussed on what they saw to be the ‘unreal’
or abstract quality of the films portrayal of the postwar urban milieu and on the
Bergman character‘s isolation from the social world. This article looks at how
certain structures of seeing that are associated in the classical style with the
woman as star or spectacle - e.g., the repetitious return to her fixed image, the
resistance to pulling back from the figure of the woman in order to situate her
within a determinate location and set of relationships between characters and objects
- are no longer restricted to her image but in fact bleed into or “contaminate” the
depiction of the world she inhabits. In other words, whereas the compulsive return to
the fixed image of the woman tends to be contained or neutralised by the narrative
economy and editing patterns (ordered by sexual difference) of the classical style,
in Rossellini‘s work this ‘insistent’ even aberrant framing in relation to the woman
becomes a part of the (female) characters and the cameras vision of the ‘pathology’
of the urban landscape in the aftermath of the war.
Jazzing the Blues Spirit and the Gospel Truth in James
Baldwin’s “Sonny’s Blues”
Steven C. Tracy
The webs of musical connection are essential to the harmony and cohesion of James
Baldwin’s “Sonny’s Blues.” As a result, we must explore the spectrum of musical references
Baldwin makes to unveil their delicate conjunctions. It is vital to probe the traditions
of African-American music—Spirituals, Blues, Jazz, and Pop—to get a more comprehensive
sense of how Baldwin makes use of music from the sacred and secular continuum in the
African-American community. Looking more closely at the variety of African-American
musical genres to which Baldwin refers in the story, we can discern even more the nuances
of unity that Baldwin creates in his story through musical allusions, and shed greater
light on Baldwin’s exploration of the complexities of African-American life and music, all
of which have as their core elements of human isolation, loneliness, and despair
ameliorated by artistic expression, hope, and the search for familial ties. Through
musical intertextuality, Baldwin demonstrates not only how closely related seemingly
disparate (in the Western tradition) musical genres are, but also shows that the elements
of the community that these genres flow from and represent are much more in
synchronization than they sometimes seem or are allowed to be. To realize kinship across
familial (Creole), socio-economic (the brother), and most importantly for this paper
appreciation and meanings of musical genres advances to Sonny the communal cup of
trembling that is both a mode and an instance of envisioning and treating music in its
unifying terms, seeing how they coalesce through a holistic vision.
Lessons Learned from an Intervention by Médecins Sans
Maria Ximena Di Lollo, Elena Estrada Cocina, Francisco De Bartolome Gisbert, Raquel González Juarez, and Ana Garcia Mingo
reduce transmission (e.g.
isolation) versus the mental health consequences of living or dying in solitude.
MSF aimed to ensure dignified treatment and care while reinforcing individual
autonomy. Support was given to care home staff to help residents with their
mobility, as well as facilitating calls or face-to-face visits with their
families. MSF also provided some assistance in the end-of-life process for the
last farewell. This was all done without
particular, networks forged by years of being there on the
ground. As a journalist I am alone, and in the best-case scenario I have a vehicle
and three phone numbers that a colleague held onto from a previous assignment.
Creative use of these limited resources and, above all, the war reporter’s
isolation – which allows a more independent, yet fragile, view of the
violence – are mentioned by Adrien Jaulmes, a Le Figaro
reporter and ex-soldier (he was a lieutenant in the Foreign
to the relief of suffering, as MSF public communications now
claimed that ‘with the correct intervention and careful monitoring of the
situation, it is possible to limit the spread of the outbreak’ ( MSF, 2018a ) via the tracing and early
isolation of people suspected to be suffering from the disease. These claims
would not be proven in Equateur, however. Most of the fifty-four Ebola cases
were identified in the ten days after the declaration of the epidemic ( WHO