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to an imaginary of intimacy as a contrast to danger, thus making it difficult to raise the issue of intra-community violence. I then reflect on how constructions of the imaginary of safety in relation to recognition of social identities operates simultaneously on interpersonal, community and institutional levels and affects how IPV can be conceptualized and how one can seek help against such violence. Through these perspectives, help-seeking is constituted as a transgressing encounter, as the lesbian and queer victim-survivor transgresses community boundaries, as
11 Transgressing the boundaries of reason: Burke’s poetic (Miltonic) reading of the sublime Eva Antal ‘many of the objects of our inquiry are in themselves obscure and intricate’ Edmund Burke, ‘Preface’, A Philosophical Enquiry1 ‘as the saying is, Homo solus aut deus, aut dæmon: a man alone is either a saint or a devil’ Robert Burton, The Anatomy of Melancholy2 The sublime experience in the Age of Reason In his inspiring book, ‘The Stranger Within Thee’: Concepts of the Self in Late-Eighteenth-Century Literature, Stephen D. Cox, while elaborating on the
Arguing that limit transgression is a key feature for understanding the cinematic performance of, and the controversy around, sexuality in the public sphere, this contribution focuses on various aspects of limit transgression in relation to sex cinemas. Following a new cinema history approach and concentrating on the case of an emerging sex cinema in postwar Belgium (Cinema Leopold in Ghent, 1945–54), this article looks at various dimensions of limit transgression in terms of concrete physical and spatial relations; programming strategies; audience experiences; and a range of disciplining societal practices and institutional discourses.
Richards’s purported sexual indiscretion, and the gossip and scandal that circulated about it, reveal about the power structures of the society within which it occurred? At its core, the case revolves around an individual’s transgressions, if not overtly sexual, then certainly overstepping the carefully prescribed bounds of intimacy and appropriate courtship behaviours. Censure of
I Introduction and Taqrīẓ – Shaykh Gibril F. Haddad In the name of God, the All-Beneficent, the Most Merciful. Gentle reader, Peace upon those who follow right guidance! I am honoured to present the following fatwā or ‘response by a qualified Muslim Scholar’ against the killing of civilians written by the Oxford-based Malaysian jurist of the Shāfi‘ī School, my inestimable teacher, Shaykh Muhammad Afifi al-Akiti, and entitled Defending the transgressed by censuring the reckless against the killing of civilians . The Shaykh authored it in a
This article theorizes the transgressive faculties of cyberspace‘s Gothic labyrinth, arguing that it is haunted by the ghost of material/information dualism. This ghost is embodied in cybergoth subculture: while cybergothic music creates a gateway to the borderland between biological and virtual realities, dancing enables cybergoths to transgress the boundaries between the two.
The lesbian community of colour in America has been largely overlooked amidst the current popular culture mania for all things vampiric. Yet the complex ambiguity of the lesbian vampire very readily lends itself to women of colour, who frequently explore in their gothic fiction the intersections of gender, sexuality, race, class, assimilation, and the transgressive significance of the vampire myth. This essay discusses two works by African-American Jewelle Gomez and Chicana- American Terri de la Pena as lesbian Gothic romantic fiction, as feminist affirmation, and as prescriptive, community-building activist discourse.
Palmer discusses Caeia March‘s Between The Worlds (1996) and Sarah Walter‘s Affinity (1999). Palmer argues that writers of lesbian fiction are drawn to the Gothic because it is a form which has traditionally given space to the representation of transgressive sexualities. The Gothic is also a vehicle through which the interrogation and problematising of mainstream versions of reality and so-called ‘normal’ values is made possible. Palmer argues that these novels parodically rework the grotesque portrayal of character, which is familiar from mainstream Gothic fiction and film, and in doing so they challenge and resignify the category of the abject to which lesbians and gay men are conventionally relegated.
This essay proposes that the polyphonic and transgressive aspects of Gothic forms are influenced by music. It examines formal connections between the sonnets of Sturm und Drang poet, Friedrich Hölderlin, their musical setting by Benjamin Britten, and Susan Hill‘s novel The Bird of Night, arguing that Hill and Britten have, in common, processes of writing or musical composition which mix together disparate discursive or musical components. These inter-genre borrowings suggest that the sound and compositional practices of certain types of music allow for the expression of tensions, dualities, transformations and extreme states of mind which the Gothic novel has developed its own tropes to express.
Del Principe argues that a compelling historical and political vision of post-unification Italy lies beneath the preternatural façade of Ugo Tarchettis Fantastic Tales, and that the authors transgressive approach to social realism is a reflection of the vast, cultural transformations of the period. Del Principe proposes correlations between sexual and political realms surfacing in Tarchettis narrative as indicators of mutating class structure and emerging capitalism. An examination of spatial allegories engages a discussion of psychic and physical modes of hysteria and xenophobic reactions that stem from the nationalistic fervor of post-unification Italy.