Uncanny assemblage and embodied scripts in tissue recipient horror
it, the ‘scion’. The grafted material thrives and the host dwindles. 2 Fantasies of human allograft, too, can inspire a sense of the transferred tissue having usurping power over the host. Who is the transfer for? – the root stock or the scion?
This chapter examines texts which imagine dead donor transfer tissue changing recipients. 3 These fantasies may draw on the sciences of heredity and genetics, the language of gift exchange, and the supernatural concepts of possession and curse. At their extreme, fantasies of cadaveric organ receipt can dramatise Gothic
justifiable cause’. Instead of disputing
whether the war was ‘for dominion’ or ‘for
possession’, in order ‘to a lawful obedience’ in the
context of ‘a warre already form’d’, people need just
to know ‘Whether the invading party [in this case the Parliament]
have us and the meanes of our subsistence’. 2
This argument constitutes the core of
what scholars, from Skinner onwards, have
of the boundaries between his fictional tales and his everyday reality.
As Maturin wrote Melmoth , Ireland became, in essence,
‘symbolically spread’ throughout the novel by way of the
paratext. Reading Melmoth today, therefore, we witness several
different levels of textual possession. If we are fans of Trollope,
Wilde, Nabokov, or Banville, we might very well recall later works
in Christ and Satan is signalled at the beginning of the poem in a tableau that reshapes the war in heaven into a dispute between rival lords concerned with power, rank, and territorial possession. Whereas Genesis A and Genesis B depict Satan’s pre-lapsarian desire to surpass God’s sovereignty, Christ and Satan offers several retrospective accounts of Satan’s failed attempt to towerpan (‘overthrow’, l. 85a) his sovereign, Christ, and seize control of heavenly territories. That the Christ and Satan poet recasts Christ as the Lord who crushes Satan
eligible for incapacity benefit.
According to Aziz, they had a happy life together for almost ten years. Then two years ago things started to go wrong. Hurriyet became dissatisfied with being the second wife and having to share her husband with another woman. On a visit to her mother in Turkey she received the magic that was later to inflict the jinn possession on Aziz. Years earlier Hurriyet's mother had used the same magic to take control over Hurriyet's father. According to Aziz, Hurriyet wanted a man as her father had been to her mother. She
, written by E.V. Page, composed by
Vincent Davies and sung by Arthur Roberts, J.W. Rowley and H.P.
Queen Victoria, so this song goes
(see Appendix IV for full song), has added another baby (possession) to
her collection – an extensive collection she does not really know
what to do with. The new possession is Cyprus, thus
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.