School of Culture and Communication - Research Publications
Permanent URI for this collection
Search Results
1 - 10 of 319
-
ItemNo Preview AvailableCyberspace Romance: The Psychology of Online Relationships(Macmillan Education UK, 2006)This book focuses on online relationships and specifically cyber-flirting; the authors examine how flirting offline can be transferred to an Internet setting, through their own empirical and theoretical research.
-
ItemErrata(WILEY, 2005-06)
-
ItemGenevieve Grieves(un Projects Inc., 2006)
-
ItemHaywood’s re-appropriation of the amatory heroine in Betsy Thoughtless(University of Iowa, 2006)Eliza Haywood’s domestic fiction, epitomized by The History of Miss Betsy Thoughtless (1751), does not reject the modes of her earlier amatory fiction work (such as her 1724 Fantomina), but instead dialectically incorporates it. By considering both Pamela and Betsy Thoughtless in the context of Haywood’s amatory fiction of the 1720s, this paper argues that the struggle to appropriate the narrative of the sexually experienced woman highlights the dialogic complexities of the relationships between amatory and domestic fiction in the mid-eighteenth century. The perseverance of amatory modes of writing in later eighteenth-century domestic novels gestures toward alternate ideological possibilities for female subjectivity through both the exercise of virtue and the exploration of sexual desire.
-
ItemEpic fantasy and global terrorism(Rodopi, 2006)There are many cues for an article like this, which looks at J.R.R. Tolkien’s The Lord of the Rings - and in particular, the recent films of the trilogy, directed by Peter Jackson - alongside recent commentaries on, and anxieties about, the rise of global terrorism and the ‘war on terrorism’. There have already been links drawn between these events and literary texts, of course: for example, Jason Epstein has compared the United States, in its pursuit of terrorists, to Melville’s Ahab. But a more relevant cue comes from an article in the New Left Review by Mike Davis, which situates the aeroplane bombings of the World Trade Centre buildings in New York on September 11th 2001 in the context of fantastic images of the fire-storming of Lower Manhattan in a work by H.G. Wells, War in the Air, published eighty-four years earlier in 1907. Under zeppelin attack by Imperial Germany, ‘ragtime New York’, as Davis describes it, ‘becomes the first modern city destroyed from the air’. Davis is one of a number of commentators on S11 who reads the reality of the event through the logic of fantasy, as if it was a moment of terror, or terrorism, that made it impossible to distinguish between the two: ‘the attacks on New York and Washington DC were organised as epic horror cinema with meticulous attention to mise en scene. Indeed, the hijacked planes were aimed to impact precisely at the vulnerable border between fantasy and reality’ (p.37). That phrase - ‘the vulnerable border between fantasy and reality’ - also resonates with anxieties about terrorist activity itself, planned and executed (in this case) from within the borders of the US, and so speaking to America’s own sense of border vulnerability: of the possibility that the outside is already or always inside.
-
ItemA note on psychoanalysis and the crime of torture( 2006)Let's be clear. Torture is an international crime under all circumstances. Countries in which torture is sanctioned are considered states that violate human rights - to the extent that they may well be vernacularly denominated 'criminal states.' Every country has a legal and moral obligation to prevent the use of torture. This includes prosecuting those who have engaged in torture or otherwise supported its practice, discouraging other states from the use of torture, and, if the acts have been committed outside their jurisdiction, to extradite the alleged perpetrator to a state that has such jurisdiction.
-
ItemAustralian cultural studies: theory, story, history( 2005)In a forthcoming paper on the History of Theory Ian Hunter calls for a space for historical reflection on the so-called ‘moment of theory’, and goes on to describe his argument as being indicative of ‘a particular way of undertaking intellectual history’. Let me posit, perhaps against the grain of Ian’s intentions, that ‘historical reflection’ and ‘intellectual history’ constitute distinct sub-sets of the history of philosophy. Historical reflection, which is central to the Hegelian critique of the self-becoming of philosophy, is excluded from contemporary analytic philosophy by its rigorous refusal of historical time as the condition or context of thought. Intellectual history is what is then left over when the history of philosophy is disconnected from the space in which philosophy actually happens, and in that sense is quite different from the historical reflection in which a past is connected, with whatever discontinuities and complexities, to the present that reflects on it. Intellectual history is histoire; historical reflection is discours.
-
ItemEntertaining entomology: insect performers in the eighteenth century( 2006)Of the many issues raised by observation of insect societies, the one this paper focuses on concerns gender, sexuality, and reproduction, with a particular emphasis on the queen of the species, and the often unstable meaning of her queenliness, fluctuating as this sometimes did between an imperious regality and a more “everywoman” ordinariness. As feminist scholarship on the eighteenth century has shown, definitions and cultural assumptions about “femininity” and the nature and status of women were keenly debated as part of a wider redefinition of social categories and roles.
-
ItemEditorial introduction: A creative life( 2006)In seeking authors who might address the relationship between the notions of philosophy and of creativity, the call for papers for this special issue of Angelaki invited consideration of the physical terms of each of these pursuits – philosophy and creative invention. The daily praxes of individual authorial and artistic pursuits are what have drawn us close to these selected texts. Individual authors’ obsessions and obsessive interests highlight the immense variation in how aesthetics operates as a determinant mode for those individuals and the communities with which they choose to engage.
-
ItemHeiner Müller and Martin Wuttke: staging new images in a time of change( 2005)During the extended prologue of the Berliner Ensemble’s 1995 production of Bertolt Brecht’s The Resistible Rise of Arturo Ui, directed by Heiner Muller, actor Martin Wuttke’s Arturo Ui moves around the stage like a salivating dog. Bare-chested and in military breeches, with white gloves making paws of his hands, and with his tongue stained red and hanging out, Wuttke’s body, is part pointer-dog, part-wolf, panting, impatient and on guard. The following year Müller's final work, Germania 3 Ghosts at Dead Man, is staged at the BE and directed by Wuttke. In the first scene, two male performers in top hats, black T-shirts, jackets with tails and bare feet, enter the stage. They could be clowns or Shakespearian grave diggers. They stare out at the auditorium and deliver the play's opening line – 'The mausoleum of German Socialism. Here is where it's been buried'. This article explores the performative representations of post-reunification German theatre through an analysis of the textual, visual and aural image-making of these two Berliner Ensemble productions. It suggests that the theatrical representation of historical and legendary twentieth century figures, that we find in these performances, such as Hitler and Stalin, old communist leaders and the mythical Erlkönig, form part of the re-mapping and re-configuring of culture that is taking place in contemporary Germany. This is especially so in regard to the inter-relations between the past and the changing political borders in the present that connect with the broader historical transitions affecting ‘east’ and ‘west’ Europe. These include the end of the Cold War, the eastwards expansion of the European Union and the movement into a globalised economy. This article contends that Müller's post-reunification theatrical offerings at the Berliner Ensemble, now separated from the state that funded it, are acutely and tellingly situated at the intersection of culture and politics.