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.
The Singing Detective and the synchronicity of indeterminacy
3049 Experimental British Tele
Don’t fence me in: The Singing Detective and
the synchronicity of indeterminacy
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
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
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
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
, 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
Shared urban spaces and civic engagement in North Manchester
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.
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
This book addresses the aesthetics of British television programmes, charting some key examples of experiment and formal or stylistic innovation, drawing mostly on arts documentaries and drama productions. It turns to the work of the little known Langham Group. In contrast to the populism of Armchair Theatre, the group emerged from a British Broadcasting Corporation (BBC) initiative to consider 'the problem of experimental television programmes'. The book discusses very varied examples of experimental television that flourished during the 1960s. It also introduces Channel 4 with an insider's account of a world of utopian hopes and the snares of the schedule. The book then looks at two series that attempted to experiment with the presentation of art to British television viewers: New Tempo and Who Is?. It explores the relationship between the series and Troy Kennedy Martin's 'Nats Go Home' manifesto, a polemic against naturalism in television drama which provided a theoretical rationale for the experimentalism of Diary of a Young Man. The book further examines the product of that experiment, placing it in the context of John McGrath's other work and his own 1979 'manifesto' for progressive television. It argues that Dennis Potter's drama, and particularly The Singing Detective, contributes to experimental television through systematic comment on, and elaboration of, the medium's inherent polysemic nature. Finally, the book focuses on the presentation of pop music on television, specifically the pop promo, rather than the dedicated music television programme.
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity. This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.
well as others not discussed in this study, such as workers’ cooperatives
and workers’ alternative plans.
However, it was on Merseyside that all these weapons in this arsenal of resistance were deployed, and they generated far greater publicity
with, arguably, better effect than in any of Britain’s other industrial centres. Moreover, some of these tactics were pioneered in Liverpool. It was
the wide range of initiatives implemented and the free use of experimentation when they were utilised, as well as their sequential or synchronic
adoption over a