Peter Ackroyd brings Victorian London to life in all its guts and glory, as we travel from the glamour of the music hall to the slums of the East End, meeting George Gissing and Karl Marx along the way.
It sheds new light on the significance of families as a source of fluctuating cultural capital, deployed in diverse arenas from political debates, social policy and identity politics to equal rights activism, and analyses how residual as well as emergent ideologies of family are mediated and critiqued by contemporary arts and popular culture. This volume will be of interest to researchers and students of neo-Victorian studies, as well as scholars in contemporary literature and film studies, cultural studies and the history of the family.
Situating the nineteenth-century family both as a site of debilitating trauma and the means of ethical resistance against multivalent forms of oppression, neo-Victorian texts display a fascinating proliferation of alternative family models, albeit overshadowed by the apparent recalcitrance of familial ideologies to the same historical changes neo-Victorianism reflects and seeks to promote within the cultural imaginary. Through these readings Elizabeth Ho explores how constructions of popular memory and fictionalisations of the past reflect political and psychological engagements with our contemporary post-Imperial circumstances.
The second chapter is devoted to J. It is argued that the car crash functions as a metaphor for conflictive mimetic desire and leads to a quasi-sacrificial crisis as defined by Girard for archaic religion. The third chapter focuses on the psychogeographical writings of Iain Sinclair and Peter Ackroyd. Walking the streets of London the pedestrian represents the excluded underside of the world of Ballardian speed.
The walking subject is portrayed in terms of the expelled victim of Girardian theory. He focuses on the capital, its history, development and identity, both in his fiction and non-fiction. It is an exceptionally heterogeneous city of enormous diversity and richness of human experience, moods and emotion, of actions and events, and also of the tools through which these are re presented and reenacted. The book is a collection of papers on a wide spectrum of topics, ranging from Hamlet to Zoolander, which reflect diverse academic interests of the authors: literary theory, linguistics, translation studies, philosophy of language, history and language teaching.
The common thread running through all the papers is the desire of the authors - all of them humanists involved in academic pursuits - to place in a theoretical perspective of their discipline and shed new light on an interesting research problem in literature, art, language use or language teaching that they have identified.
What does it mean from an ideological point of view to build a modern form of art by resurrecting and recycling an art of the past? From a formal point of view what are the aesthetic priorities established by these postmodernist novels?
Those are the main questions tackled by this study intended for anybody interested in the aesthetic and ideological evolution of very recent fiction. What this analysis ultimately proposes is a reevaluation and a redefinition of postmodernism such as it is illustrated by the British novels which paradoxically both praise and mock, honour and debunk, imitate and subvert their Victorian models.
Unashamedly opportunistic and deliberately exploiting the spirit of the time, this late form of postmodernism cannibalizes and reshapes not only Victorianism but all the other previous aesthetic movements - including early postmodernism. From this premise, Theatricality in the Horror Film argues that scary movies often create their terrifying effects stylistically and structurally through a radical break with the realism of normality in the form of monstrous theatricality.
Theatricality in the horror fi lm expresses itself in many ways. For example, it comes across in the physical performance of monstrosity: the overthe-top performance of a chainsaw-wielding serial killer whose nefarious gestures terrify both his victims within the film and the audience in the cinema.
Theatrical artifice can also appear as a stagy cemetery with broken-down tombstones and twisted, gnarly trees, or through the use of violently aberrant filmic techniques, or in the oppressive claustrophobia of a single-room setting reminiscent of classical drama.
Any performative element of a film that flaunts its difference from what is deemed realistic or normal on screen might qualify as an instance of theatrical artifice, creating an intense affect in the audience. Digital Be informed with the essential news and opinion. Delivery to your home or office Monday to Saturday FT Weekend paper — a stimulating blend of news and lifestyle features ePaper access — the digital replica of the printed newspaper.
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