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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.
gamble and spend the weekends in the hotel/casino as an uncontrollable drive that takes them into another dimension. Moreover, the casino enabled many of the visitors from Greece to transgress the everyday reality of their mundane lives. In Stefka’s words: They are transported into a different world where they become different persons. They are addicted to this
This is an epiphanic story about transgression – about crossing, as Alison says, ‘all sorts of divides’. The oral historian Lynn Abrams describes the epiphanic as a narrative strategy mobilised by a narrator ‘attempting to align past and present selves, to make a smooth or coherent story from a disjointed or incoherent life’. 13 In this aligning or smoothing movement between past and present it is a technique of composure, in the double sense given to this term in the work of Graham Dawson, Alistair Thomson and Penny
sexual violations they will not tolerate, but neither all members of a complaints committee nor the institution may necessarily think along the same lines. Finally, to what extent can members of complaints committees appreciate the nature of intimacies that students in higher education institutions explore – sometimes consensually and at other times through transgressions? The question to reflect upon is not only whether the members are trained to make interpretations of the law but also whether they are connected to
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.
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.