childhood at the end of the twentieth century ( Scheper-Hughes and Sargent 1998 ; Stephens 1995 ) coincided with a reversal in longstanding ideas about the constitution of rule through the creation of spaces interior to the state, to the nation, and to the
Transparency, risk, and good governance in Indonesia
Eve Rachele Sanders
The letter was the single most widely used property in Tudor-Stuart plays. In that memorable stage direction from The Spanish Tragedy, the letter is an instrumental device in the plot. It provides Hieronimo, the central protagonist of the revenge tragedy, with targets for revenge by identifying his son’s killers by name. However, the letter also is a sign for the interior state of mind of its writer, the beautiful Bel-imperia, in issuing a call for reprisal. It is a materialisation of what immaterial passions ultimately drive the action: desire, loss, and rage. Red ink. Blood signifies the authenticity of the words on the page. They come, literally, from Bel-imperia’s heart. And yet, the macabre medium of the message brings Hieronimo to see in it fatal implications for himself. ‘Hieronimo, beware’, he says to himself, ‘thou art betrayed, / And to entrap thy life this train is laid’. (Indeed, in another revenge tragedy, Bussy D’Ambois, an adulterous wife is forced at knifepoint to lay a snare for her lover with that very deception of a letter inscribed in her blood). This single moment in Thomas Kyd’s tragedy, Hieronimo’s reception of Bel-imperia’s ‘bloody writ’, captures the complex of attitudes that governed the circulation of letters as stage properties.
One of the original uses of the word ‘interior’ was to describe that which belongs to or exists in the mind or soul, that is, the mental or spiritual, as opposed to that which is bodily. The etymology of the term gives a clue as to how interior space functions in a manner that is different from the architecture that contains it. This article explores the analogy of architecture as body and the interior as mind through the act of drawing out Sigmund Freud’s study and consulting room, with reference to Freud’s diagrams of the mind. Working with diagrams, the article will demonstrate a relation between Freud’s conceptual shift from descriptive anatomy to hypothetical structures of psychoanalysis and the diagrammatic ordering of the spatial arrangement of his practice.
Danish Middle-Class Consumption, Egalitarianism, and the Sanctity of Inner Space
Jeppe Trolle Linnet
In this article, the style of social interaction known as hygge is analyzed as being related to cultural values that idealize the notion of 'inner space' and to other egalitarian norms of everyday life in Scandinavian societies. While commonly experienced as a pleasurable involvement in a social and spatial interior, hygge is also examined as a mode of withdrawal from alienating conditions of modernity. In spite of its egalitarian features, hygge acts as a vehicle for social control, establishes its own hierarchy of attitudes, and implies a negative stereotyping of social groups who are perceived as unable to create hygge. The idea of hygge as a trait of Scandinavian culture is developed in the course of the interpretation, and its limitations are also discussed against ethnographic evidence that comparable spatial and social dynamics unfold in other cultural contexts.
Serialized Television and Character Interiority
states of characters ( Blanchet and Bruun Vaage 2012 ; Mittell 2015 ). Being spatiotemporally attached to a character over a long period of time provides viewers with an increased ability to understand the complexity of characters’ interior states
Sex and the Body in Dickens
William A. Cohen
Not so long ago, the topic of Dickens and sex might have seemed entirely entailed by Foucault's inquires in the first volume of the History of Sexuality. In that work, Foucault argues that sex is not a biological donnée but is instead an effect of discourse, a culturally variable vehicle for the exercise of power in many different directions. Emerging out of Foucault's studies of social institutions such as prisons and madhouses, the History of Sexuality emphasises the disciplinary imperative of sexual knowledges; it argues that individual subjects internalise surveillance mechanisms, experiencing them through and as their sexuality. One of the beneficiaries of the Foucauldian paradigm, which dominated Victorian literary studies from the late 1980s until recently, was queer theory. Queer theory interrogates rather than presuming identity categories (such as homosexual, lesbian and gay), but it has always sat in an uneasy relation to identity politics, simultaneously relying on and deconstructing stable notions of gender and sexual identity. Some critics have employed queer theory to discover lesbian, gay or queer characters and practices in Victorian literature (not to mention finding more properly nineteenth-century types, such as the hysteric, the onanist and the sodomite). Such projects have often understood the function of sexual representation as part of modernity's more general disciplinary structure.
This article explores three central figures that recur in Gabriel Josipovici’s critical writing. All three are essentially solitary. First, there is the creative figure – the artist, the composer, the writer – alone in their study or studio. Second, there is a curiously impersonal figure, more elusive, harder to pin down. Not the writer or artist but an anonymous figure walking down the road, Wordsworth’s solitaries in The Prelude and Paul Klee’s Wander-Artist. And, finally, there are Jewish figures, especially from Kafka and the Hebrew Bible. What are these bare, elusive anonymous figures doing in Josipovici’s writing? Why do they come up so often, throughout his work, from the mid 1970s to the present? And are they lifeless or are they full of life, deeply human, rooted in history and literature?
Mary Ellen Lamb
Addressing the question, ‘Am I saved?’, the diary of Margaret Hoby is primarily an exercise in the Puritan discipline of selfexamination, a pre-condition for ‘assurance’ or certain knowledge of election. Covering the years 1599–1605, Hoby’s entries represent a life saturated by print – the reading of Scripture and contemporary devotional authors, as well as of copying reading material into her commonplace and testament books. Hoby’s religious discipline was not unusual for devout women of the gentry class, whose piety came to resemble ‘a kind of self-imposed career’. As Diane Willen has aptly noted for Protestant women, ‘Denied the status of the Puritan divine, women might seek the greater status of Puritan saint’. There is a sense in which Margaret Hoby, as well as other Reformation women, may have found in private religious exercises a focus upon the states of their souls which in fact freed them momentarily from gender roles. Yet Reformation women incorporated their religious experiences into lives which were inevitably affected by gender.
Near and Far from the US Border
Whether living along the border or deep within the US interior, undocumented people know that their lives could be upended by a traffic stop or by employers, landlords, or partners blowing the whistle on their legal status. The border may not be
Toward an (In-flight) Understanding of the Sensuousness of Mobilities Design
Ole B. Jensen and Phillip Vannini
-flight mobilities we may notice that many elements have been “staged from above” (from the global air system to the engineers’ interior Figure 1 Staging Mobilities Diagram: Jensen, Staging Mobilities , 6. design of the cabin). But the way human bodies “inhabit