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Gabriel Remy-Handfield

body, namely deformity and hybridity. In the second part of the article, I propose close readings of specific sequences of the two films mentioned earlier to tease out the conceptualization and visualization of faciality and the grotesque body

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Sine Dolore

Relative Painlessness in Shakespeare’s Laughter at War

Daniel Derrin

space creates a kind of emotional distance, a relative painlessness, from that which is elsewhere simply troubling or horrifying. Renaissance thinkers often repeat the idea that the ridiculus (the laughable) is that type of ‘deformity’ or ‘turpitude

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From Villainous Letch and Sinful Outcast, to “Especially Beloved of God”

Complicating the Medieval Leper through Gender and Social Status

Christina Welch and Rohan Brown

; 28 thus a further link between leprosy and improper sexual conduct. Lepers’ exaggerated physical deformity, and the physical pain that accompanied it until their eventual deaths, did not promote sympathy to the medieval onlooker. Rather, the fact

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From Summit to Tragedy

Sulayman Al-Bassam's Richard III and Political Theatre

Graham Holderness

Richard III is one of Shakespeare’s best-known characters, a familiarity independent of the history plays, Henry VI and Richard III, in which he appears. This celebrity has less to do with Richard’s historical reputation, and more with the way in which great actors of the nineteenth and twentieth centuries gave the role status and popular visibility, particularly perhaps via Laurence Olivier’s 1955 film version. Just as Hamlet is automatically identifi able by black suit and prop skull, Richard is immediately recognisable by his legendary deformity (mandatory hump, optional limp), and by the famous opening line of his initial soliloquy: ‘Now is the winter of our discontent’.

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Back to the Future

Subjectivity and Anamorphosis in Richard I

Vance Adair

Internalising the gaze of the Other, in this case that of Lady Anne, Richard’s acquisition of a looking glass is accompanied by an idealisation of body image that is redolent of the ‘jubilation’ experienced by the subject of Lacan’s mirror stage. Briefly, in the mirror stage the ego is formed in terms of identification with one’s specular image, the infant who has not yet mastered the upright posture upon seeing himself in the mirror will ‘jubilantly assume’ the upright position (Lacan 1977, 2). The apparently ‘orthopaedic’ effect of captation by the mirror image would appear particularly apposite for a character that is frequently disposed to descanting upon on his own deformity. This transition from an uncoordinated body image, the corps morcele, to the Gestalt of bodily wholeness, however, is irreducible to a myth of origins. As Jane Gallop has argued, the mirror stage involves a temporal dialectic at once anticipatory and retroactive which is of paradigmatic significance for Lacan’s understanding of the relationship between subjectivity and the signifying chain

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Marc Saperstein and Ruth Scott

than the words. A final dramatic shift occurred in the fifteenth century, when for the first time the depiction of Jewish women became significant (221). The presentation of Jewish women displaying exotic luxury, or women displaying carnal deformity

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Carl Plantinga

what the viewers are shown . The characters, settings, and events as represented have an affective character. Among the most striking images that we see are geysers of blood, decapitations, impalements, deformities, monsters, and grotesque creatures

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Steven Sampson

under Yugoslav self-managing socialism, which, despite its deformities, was a system with which people were familiar. In sum, while civil society activists tout the nonpolitical, technical nature of their project, Mikuš shows the inherently political

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Porscha Fermanis

Erewhonians, who once sacrificed Chowbok's ancestors to “propitiate the gods of deformity and disease.” 28 The Erewhonians’ denial of their own racial prehistory mirrors nineteenth-century anxieties about the heterogeneous nature and origins of English

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Sachiko Hosoya

-consuming. Some of them have mild or severe facial bone deformities and short stature, which often stigmatises them and can foster low self-esteem. Additionally, there is employment discrimination and parental overprotection, especially when the future health