Laura Panizo

This article will investigate the process of confronting death in cases of the disappeared of the last military dictatorship in Argentina. Based on the exhumation and identification of the body of a disappeared person, the article will reflect on how the persons social situation can be reconfigured, causing structural changes within the family and other groups. This will be followed by a discussion of the reflections generated by the anthropologist during his or her interview process, as well as an investigation into the authors own experiences in the field. This intimate relationship between the anthropologist and death, through the inevitable contact that takes place among the bodies, causes resonances in the context both of exhumations and of identifications in the anthropologists wider fieldwork.

Human Remains and Violence: An Interdisciplinary Journal
The Counterfeit Gothic Heroine in Middlemarch
Royce Mahawatte

Mahawatte explores George Eliot‘s use of the Gothic in Middlemarch (1871–72) and in particular the literary connections between Dorothea Casaubon and the heroine of the Gothic novel. He argues that Eliot has a conflicting relationship with this figure, at once wanting to satirize her, and yet also deploying Gothic images and resonances to add an authenticity of affect to her social commentary. Using Jerold E. Hogle‘s idea that the Gothic re-fakes what is already read as a copy, Mahawatte presents Dorothea as a quasi-reproduction of Sophia Lee‘s heroines in The Recess; or, A Tale of Other Times (1783–85) and also as part of a Gothic process within a social realist novel.

Gothic Studies
Jay Garcia

The intellectual connection between James Baldwin and Lionel Trilling, and the resonances across their criticism, are more substantial than scholarly and biographical treatments have disclosed. For Trilling, Baldwin’s writings were notable for their deviation from most humanistic inquiry, which he considered insufficiently alert to the harms and depredations of culture. Baldwin’s work became for Trilling a promising indication that American criticism could be remade along the lines of a tragic conception of culture deriving from Freud. This essay concentrates on a relevant but neglected dynamic in American letters—the mid-twentieth-century tension between Freudian thought and American humanistic inquiry evident in fields like American Studies—to explain the intellectual coordinates within which Trilling developed an affinity for Baldwin’s work. The essay concludes by suggesting that the twilight of Freud’s tragic conception of culture, which figured centrally in the modernist critical environment in which Baldwin and Trilling encountered one another, contributed to an estrangement whereby the two came to be seen as unrelated and different kinds of critics, despite the consonance of their critical idioms during the 1940s and 1950s.

James Baldwin Review
A Model for Historical Reflection in the Humanitarian Sector
Kevin O’Sullivan and Réiseal Ní Chéilleachair

(warranted or not) as a ‘hopeless’ case, and the practical demands of working in such a complex crisis over a long time period, carried particular resonance for participants more immediately concerned with what is occurring in contemporary Syria and South Sudan, for example. The participation of two Somali colleagues (via Skype), along with members of the Somali diaspora, was significant in that sense. It provided an alternative (and frequently highly

Journal of Humanitarian Affairs
The Muscovy Company and Giles Fletcher, the elder (1546–1611)

This book tells the story of English relations with Russia, from the 'strange and wonderfull discoverie' of the land and Elizabeth I's correspondence with Ivan the Terrible, to the corruption of the Muscovy Company and the Elizabethan regime's censorship of politically sensitive representations of Russia. Focusing on the life and works of Giles Fletcher, the elder, ambassador to Russia in 1588, it explores two popular themes in Elizabethan history: exploration, travel and trade and late Elizabethan political culture. The book draws together and analyses the narratives of travel, the practicalities of trade and the discourses of commonwealth and corruption that defined English encounters in late sixteenth century. In the early stages of English mercantile contact with Russia, diplomatic negotiations took shape in the wake of developing trade relations and were made up of a series of ad hoc embassies by individuals. The embassy of Giles Fletcher in 1588, however, represented a change in diplomatic tack. Fletcher's writing of Russia reveals some shared Elizabethan images of the land on Christendom's periphery and fundamentally how Russia was used as a site to reflect on themes of cultural development, commonwealth, trade and colonisation. The extensive use in Fletcher's text of the language of anti-popery points to resonances with the anxieties that riddled the political and religious consciences of late Elizabethan England. His work engaged in cajoling the commonwealth to think with the image of Russia.

Abstract only
Author: Stefania Parigi

This book is a collection of essays on the author's journeys taken during the past fifteen years. They are journeys in time and of memory about a country that no longer exists: the Italy of Roberto Rossellini's Paisà, torn by war and sometimes in conflict with the American 'liberators'. The essays concentrate on the structure and forms of the films they discuss; a confrontation of cultures, the Italy of Luchino Visconti, a territory more cultural than physical, subject to transfigurations wrought by a sophisticated intellectual who viewed the world through the lens of his sensibilities. The first three essays focus on discussions and films relating to neorealism. They seek problems and inconsistencies in points of view and prejudices that have become institutionalized in popular accounts of neorealism. The next two essays are dedicated to Visconti's commemorative and antiquarian vein, to the central importance of mise en scène (in the theatrical sense) in his films. The final essay is an attempt to recover an archetypical image in Pasolini's work. The characteristics shared by these essays include a sensitivity and knowledge of the cinema, genuine scholarship, and the ability to see aesthetic resonances to painting, literature, poetry, music. The contrast between darkness and light in Paisà and in Visconti's Vaghe stelle dell'Orsais most incisive and dramatic. They are all traversed by recurrent themes and obsessions: the contrast between darkness and light, night and day.

Memory and security without visibility
Charlotte Heath-Kelly

efforts of states and activist groups to delineate the spatial location of the emergency event and then exorcise its morbid resonance with architecture; to use stone, steel and glass to provide an assurance of life contra mortality. We have called this ‘retrospective security’: security practice that identifies danger as emerging from the past. The existence of retrospective security indicates that

in Death and security
David Hesse

9 Who’s like us? Scotland as a site of memory The previous chapters have examined the many ways in which adult Europeans celebrate and impersonate the Scots. It has emerged that many of them hope that, via Scotland, they can reconnect with their own lost past. This chapter examines the reasons for the Scottish dreamscape’s striking resonance in northern and western Europe. Why do the continental heritage enthusiasts direct their playful energy towards the Scottish dreamscape, and not to any other pseudo-­ historical fantasy? Why Scotland? One reason, certainly

in Warrior dreams
Hanneke Canters and Grace M. Jantzen

words: ‘La fleur ouverte: la fleur offerte’ (Pe 37). But this is grotesque. Irigaray suggests that the flower is an image with multiple resonances for woman in relation to man. The visible flower would be that in which man in Lacanian fashion wanted to find himself reflected: ‘The flower would grow and blossom simply to let you gaze at yourself and find your double in it?’ (EP 32); ‘La fleur pousserait et s’épanouirait uniquement pour que tu puisses t’y regarder, t’y redoubler’ (Pe 39). This flower would be an object for man as the following description makes clear

in Forever fluid
Reading historically and intertextually
Judith Anderson

, even endlessly, figurative surface enables. Finally, ‘resonance’ is another metaphor that some of us have employed, as does Helen Barr in the present volume, and I was especially drawn to it in thinking about the poems for this chapter. Resonance is associated by definition with the prolongation of sound and therefore, like scrine , with memory and imagination; like refraction , moreover, resonance suggests degrees of presence. Yet it also implies an experience that is affective, subtle, suggestive and, probably

in Rereading Chaucer and Spenser