Search results

You are looking at 1 - 10 of 377 items for :

  • "synchronicity" x
  • Refine by access: All content x
Clear All
Open Access (free)
Settler emigration, the voyage out, and shipboard literary production
Fariha Shaikh

outputs of settler emigration. Indeed, uncovering the porous nature of their mobility, as they move between water and shore, demonstrates the ways in which they are framed by, and transport, colonial hierarchies of race. The maritime culture that shipboard periodicals are a part of is thus not separate from land – the periodicals’ content and circulation is shaped by the real and imagined spaces that they move through. Drawing attention to the problematic ways in which different spatial imaginaries of land and sea, and of ship and colony, are synchronic with, and map

in Worlding the south
Jodey Castricano

In Shirley Jackson‘s novel The Haunting of Hill House, the tropes of haunting, telepathy, and clairvoyance serve to remind us that there is more to alterity than the shattering of the autos. In Jackson‘s novel, these tropes lead us to reconsider what we mean by subjectivity for, beyond the question of consciousness, they also destabilize what Sonu Shamdasani refers to as the “singular notion of the ‘unconscious’ that has dominated twentieth century thought,” especially via Freudian psychoanalysis. By drawing upon Carl Jung‘s theory of synchronicity in relation to quantum theory, this paper argues that Jackson‘s novel challenges certain classical models of human consciousness and subjectivity as well as psychoanalytic models of interpretation.

Gothic Studies
Abstract only
The Singing Detective and the synchronicity of indeterminacy
Catrin Prys

3049 Experimental British Tele 16/5/07 08:02 Page 120 7 Don’t fence me in: The Singing Detective and the synchronicity of indeterminacy Catrin Prys Television’s very use of narrative forms pushes them towards an openness that in many other media would seem intolerable, or at least inept.1 First broadcast on BBC1 between 17 November and 21 December 1986, The Singing Detective is most regularly identified with its writer, Dennis Potter. This does little justice to the important and crucial input of figures such as John Amiel (director) and Kenith Trodd and

in Experimental British television
What do The Smiths mean to Manchester?
Julian Stringer

actually know about The Smiths and native place identity and how much more we still have to learn. In so doing, I utilise the distinction drawn by Klinger between ‘synchronic’ and ‘diachronic’ forms of historical analysis. The former refers to ‘the conjuncture in which films initially appeared . . . their original circumstances of production, exhibition and reception’, and grapples with the fact that aesthetic texts are ‘always available to another reading at the same time, even in the supposedly “original” moment when they were first produced’.8 The latter refers to a

in Why pamper life's complexities?
Elements of Margery Kempe’s world
Laura Kalas

natural world is established early on as a metonymy for Kempe as the ‘creatur’ of the Book : a textualised embodiment of God's creation and a spiritual work-in-progress. This ongoingness with ‘nature’, expressed through the ‘tunge’ and the cognisance of a sixty-five-year-old holy woman, not only chimes with Haraway's call for a revised and co-operative existential narrative but curiously reveals the synchronicity of two seemingly disparate aspects of the Book : the authority and genesis of Book II, and Kempe's maturing encounters, in Book II, with the natural

in Encountering The Book of Margery Kempe
Abstract only
Effie Rentzou

and synchronicity, simultaneity seems to transcode, on the representational and conceptual level, an ideological, political and economic issue, that of a perceived belatedness, of a generalized sense of unevenness and of potential inequalities. The question of who invented simultaneity first, the French or the Italians, thus becomes not only an issue of innovation in art, but an issue of modernization, and most crucially, a symptom of an angst over falling behind. Simultanéité as a concept brings together space, time, perceptions and affects, and compresses the

in 1913: The year of French modernism
Elisabeth Salter

liturgical elements of the Creed and the Lord’s Prayer.12 Added to this are innumerable variations found in manuscript and printed books in the form of annotations, specific images selected from a manuscript workshop, devotional prayers added by hand to printed or manuscript books (or added in print by printers), and other didactic and devotional works appended to both manuscript and printed service books. In this chapter, I begin with a case study of one fairly unusual prayer book in order to demonstrate some of the possibilities presented for the synchronic analysis of

in Popular reading in English c. 1400–1600
Paula Meehan

, mastic, holm oak, thyme, thorny burnet, prickly pear. Goats scatter, bell notes in the air. Less distraction than comfort, John. The comfort of otherness by which we define ourselves. McGahern had lined up a number of distinguished visitors to the workshop. Neil Jordan came in. McGahern had taught him in Belgrove National School and Neil’s father had taught McGahern in St Patrick’s College of Education in Drumcondra as it then was. McGahern loved these loops and connections: he relished returns, completions, synchronicities. Neil read to us from the manuscript of The

in John McGahern
Shared urban spaces and civic engagement in North Manchester
Luciana Lang

of commoning in the park, against the backdrop of how the park features in old photographs and through oral histories. Second, the Welcome Centre gives a synchronic picture of the park under the current management model of public land, and third, the adventure playground offers a window into a model no longer in place. These different temporalities make salient both the rationale and the shortcomings of what has become the dominant model of managing public land in Britain today. The different scenarios point to three distinct models of managing public spaces. The

in Realising the city
Abstract only
Colin Gardner

threads running through his film criticism is his passionate belief in the synchronicity between film style – editing, mise-en-scène , camera movement – and the role of the actor (reinforced in turn by good casting) in serving the cause of expressing and furthering character development. This is at the root of Reisz’s dislike for Kazan’s theatricality. Discussing what he calls the ‘inflated virtuosity’ of Kazan’s technique in

in Karel Reisz