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13 India in the Indian Ocean: colliding ambitions with China It emerged in December 2011 that China will be setting up its first military base abroad in the Seychelles to “seek supplies and recuperate” facilities for its navy. The Indian Ocean island nation defended its decision by suggesting that it had invited China to set up a military base to tackle piracy off its coast and Beijing played it down by underlining that it was standard global practice for naval fleets to resupply at the closest port of a nearby state during long-distance missions.1 But there
In a recent edition of Atlantic Studies, Hester Blum outlined the methodological approaches appropriate to the emergent field of oceanic studies, arguing that such work should prioritise the oceans material conditions, their nonhuman scale and depth andmulti-dimensional flux. Our aims in this essay are twofold: to consider the implications oceanic studies has for scholars of the Gothic while also considering the ways in which there is already a decidedly Gothic dimension to a critical framework championing nonhuman scale and depth and multi-dimensional flux. The literary analysis for this essay is rooted in a range of Gothic sea poetry. The poems explorations of depth, we argue, assert the prominence and pre-eminence of the uncanny nonhuman forms inhabiting the ocean, while the deep is shown to be a site haunted by the accumulation of history in which past blends with present, and where spatiality and temporality become unmoored from and exceed their traditional (or terrestrial) qualities.
plot of The Pilot are also transatlantic. In his preface to the 1849 edition issued by American publisher George Palmer Putnam, Cooper claimed that he was inspired to write the novel after discussing Scott’s The Pirate (1822) and concluding that he might ‘present truer pictures of the ocean’ (Cooper, 1991 : 5). Set in 1780 on the north-east coast of England and based on the exploits of Revolutionary War hero John Paul Jones, The Pilot narrates an attempt by the American navy to kidnap important British persons
’s novel. In this context, Coppola’s Dracula helps us to recognise the similarities that exist between Stoker’s approach to the vampire and Meyer’s, and, in both cases, the outcome is at once compelling and conservative; all-encompassing, yet stifling. The twenty-first-century vampire may indeed have crossed oceans of time, but, despite the opportunities presented by this latest popular reworking to
his home and gathered around the tape recorder some of those who had relatives in America. Using different languages – Arbëresh, English or Italian – depending on the interlocutors, Chiaffitella played an authoritative role of master of ceremonies. He provided an introduction to the message of each guest, and his words betrayed a sense of wonder about the possibility of owning a machine able to record the voice and allow it to travel across the ocean. With this tape recording machine, we are sure living in a marvellous age, when even if we are separated from
This essay reviews Hilton Als’ 2019 exhibition God Made My Face: A Collective Portrait of James Baldwin at the David Zwirner Gallery. The show visually displays Baldwin in two parts: “A Walker in the City” examines his biography and “Colonialism” examines “what Baldwin himself was unable to do” by displaying the work of contemporary artists and filmmakers whose works resonate with Baldwin’s critiques of masculinity, race, and American empire. Mirakhor explores how Als’ quest to restore Baldwin is part of a long and deep literary and personal conversation that Als has been having since he was in his teens, and in this instance, exploring why and how it has culminated via the visual, instead of the literary. As Mirakhor observes, to be in the exhibit is not to just observe how Als has formed and figured Baldwin, but to see how Baldwin has informed and made Als, one of our most lyrical and impassioned contemporary writers and thinkers.
and the supernatural in its cosmic effect on the human lives it dwarfs, the ocean, together with the beach it noisily laps, return, in Ozon’s cinema, with an insistence that is impossible to ignore. ‘La plage, chez Ozon, c’est toujours le lieu où la bourgeoisie en vacances se frotte avec ce qui l’excède, où son goût pour la nature sauvage l’entraîne au-delà de ce qu’elle pouvait imaginer’ (‘The beach
TNWC03 16/11/06 11:27 AM Page 80 3 Hollywood and the one-ocean war The contribution of the American film industry to the war effort can be divided chronologically between preparatory propagandist films made before the attack on Pearl Harbor, and combat films made after it, and formally between non-fiction (newsreels, documentary and instructional films) and feature film productions. As in Britain, a convoluted relationship between the propaganda arm of government and the filmmaking establishment was wrought to mobilise and exploit the entertainment industry
8 Challenging ‘the ocean of mediocrity and pretence’? The alternative visions of the Whitworth and Harris galleries The availability of private investment through bequests, legacies or donations could change the direction of local art policies, empowering individuals or groups of collectors to develop galleries in very different directions. In the case of Liverpool, private donations were an inherently political act, with private finance being used as a strategy for direct social advancement. In the case of the Whitworth Art Gallery and the Harris Library