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Ruined Abjection and Allegory in Deadgirl

Sol Neely

negotiates tropes of abjection —staged at the blurred lines of fantasy and horror toward some morally purposive allegory of “female empowerment”—with an altogether different economy of abjection that disrupts such restricted economies precisely because

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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

precipitous environment. Myth into Allegory The myth of Sisyphus, whether recounted in Homer's Odyssey or rendered pictorially upon a Grecian urn, has certainly resonated with occidental culture in the wake of ancient Greek civilization to become a

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Bodies with Objects in Space through Screens

Casual Virtuality and the Self-Mediation of Laura Paolini's Constraining Aesthetics

Jakub Zdebik

concept of documentation by filtering experience through digital screens. Owens’ text on postmodern allegory takes into consideration the semiotic charge of a variety of art objects in a constellation of different artistic styles and methods—this will

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Othello's ‘Travailous History’

Samira al-Khawaldeh, Soumaya Bouacida, and Moufida Zaidi

–sixteenth century, a background that may provide such a character with a rich, though traumatised mind. The historical context also allows us to form a hypothesis in which Othello appears as an allegory of the tragic events in Shakespeare's contemporary Spain

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Psychoanalysis, Cinema, History: Personal and National Loss in René Clément's Forbidden Games

Esther Rashkin

What facilitates the psychic process of grieving a traumatic loss, and what happens when that process is blocked? Forbidden Games is, on one level, an intimate film about childhood trauma. When viewed from a psychoanalytic perspective informed by concepts such as introjection and pathological mourning, however, it emerges as a complex allegory that reflects, through its narrative and filmic elements, on the sociocultural and historical dynamics of France's troubled response to the loss of its identity as a democracy during World War II. The film also reflects on the even more shameful history of the rise of French anti-Semitism under the Vichy regime and France's history of silencing or repressing the drama of its willing collaboration with the Nazis' Final Solution. Private trauma thus screens public, political trauma as Clément's film becomes both a medium for sociocultural commentary and a memorial to loss that could not be buried or mourned.

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The Tempest and The Faerie Queene

Shakespeare's Debt to Spenserian Strangeness

John Roe

serpent. In a mighty struggle, the Redcrosse Knight finally prevails – at the urging of the inspirational maid Una – and kills Error. The allegory is plain enough. The visceral nature of error shows itself in the following arresting imagery

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Peerless Dulcinea, Love of God, and Shoah

Steps toward the Conceptual History of Incomparability

Kirill Postoutenko

levels? Barring temporal and local variations requiring separate analysis, the major technique appears to be the same in most of the contexts large and small: some lively allegories working as synecdoches of larger abstract values are placed at the

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The Poetry of Snails

The Shown, the Intervened and the Signified in Duelo de caracoles (2010) by Sonia Pulido and Pere Joan

Benjamin Fraser

categories into play: the subjectivity of the protagonists in all its varying forms (dream, emotion, fantasy, hallucination, projection, etc.), on the one hand, and/or the deployment by the author of stylistic features such as analogy, metaphor or allegory

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‘Being a model for the world’

Performing Creoleness in La Réunion


In this article, I shall argue that concepts of Creoleness are used both to formulate an ethics of modern time and mobility, and to form social realities whose experience, among others through tourism, brings this very ethics alive. Creoleness presents itself here as a powerful allegory to think about time in terms of a linear process, as ‘history’ emanating in an imaginary point of purity and origin, and leading towards a state of increasing melange and ‘creolisation’. Through a historical and ethnographic study of landscape poetic, spatial planning and museum initiatives in the Indian Ocean island of La Réunion, I will show how the island and islanders were made to inhabit and ultimately to perform this allegory as a means to participate in a global modernity. Through the particular focus on a recent museum project, the article will point to the ambivalences underlying this new sign‐economy within which facets of the islanders’ everyday life are elevated as to be or become a ‘model for the world’.

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The Embodiment of Learning and Teaching

The Enigma of Non-arrival

Nigel Rapport and Noa Vaisman

How people arrive at their convictions, and how they come to change them, remain immensely difficult questions. This article approaches convictions as manifestations of individuals' embodiment, and as allegories of their lives. As well as a rehearsing of moments of his own embodied learning, the main author engages in an email exchange with the second author, pondering how he might answer her questions about an anthropological methodology which more nearly approaches others' embodied experiences: the convictions represented by informants' words and behaviours. The article ends inconclusively. An individual's knowledge of body and self is part of that body and self, situated amid world-views and life-projects. Alongside the radical otherness of anthropologists' informants is the relative otherness of anthropologists to themselves. Our disciplinary conclusions concerning convictions, own and other, must remain provisional and open.