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Uncanny assemblage and embodied scripts in tissue recipient horror
Sara Wasson

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

in Transplantation Gothic
Marco Barducci

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

in Order and conflict
Rereading Melmoth the wanderer
Christina Morin

deconstruction 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 Charles Robert Maturin and the haunting of Irish Romantic fiction
Jill Fitzgerald

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

in Rebel angels
Christian Suhr

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

in Descending with angels
The contexts
Andrekos Varnava

, written by E.V. Page, composed by Vincent Davies and sung by Arthur Roberts, J.W. Rowley and H.P. Matthews) 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

in British Imperialism in Cyprus, 1878–1915
Bulletin of the John Rylands Library
The Korean Horror Films of Ahn Byeong-ki
Ian Conrich

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.

Gothic Studies
Bulletin of the John Rylands Library