305 research outputs found
Monstrous Domesticity â Home as a Site of Oppression in Crimson Peak
This paper begins by offering a brief overview of the popular culture narrative Crimson Peak (2015), directed by Guillermo del Toro. The analysis focuses on the most compelling Gothic trope del Toro reintroduces, the proverbial mansion, simultaneously displaying Freudâs heimlich and unheimlich elements, oppressing and liberating its inhabitants. Since the narrative revolves around two female protagonists, Lucille Sharpe and Edith Cushing, the paper also refers to feminist socio-cultural perspectives on space, primarily Gillian Roseâs and Shelley Mallettâs, in order to understand the position of the two protagonists within the decidedly Gothic space. This paper aims to emphasize that Lucilleâs liberation as the mistress of the house is illusory regardless of the fact that she is represented as the embodiment of domestic corruption. It is precisely because she is a sexually active woman and a disruptor of the patriarchal order that she must ultimately be punished. Even though del Toro subverts the traditional image of the madwoman in the attic by positioning her at the center of the narrative, Allerdale Hall does not reveal itself as a space of female empowerment
Unsatisfactory devices: legacy and the undocumentable in art.
Regarding perception of ephemeral artwork when lost to the fractures of time Peggy Phelan states âyou have to be there.â For Phelan ephemera, specifically performance âbecome[s] itself through disappearance,â which draws empathy with Walter Benjaminâs notion of the âaura of the original.â In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? This essay interrogates the critical, sensitive and individualized distance necessary to archive transient artworks. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain is analysed in response to The Alternative Document, an exhibition I curated on the subject in 2016, and suggests archival possibilities beyond formal academic, artistic and museological conventions.University of Derb
Women and Haunted Houses in the Films of Jaume BalaguerĂł: The Nightmares of Presence
Jaume BalaguerĂł has developed a successful resumĂ© of horror films that show a decided preference for the classic Gothic motif of the haunted house and the Gothic heroine who investigates its interior. This paper touches first on the Derridean concept of âdreams of presenceâ (as theorized by cultural geographer Mitch Rose), in order to propose the ânightmares of presenceâ in which the relationship, the call to care or commitment, between the subject and the space in which the subject dwells or moves is Gothicised but nonetheless remains to tie the subject to the space concerned. It then focuses on BalaguerĂłâs Los sin nombre, Fragile and [REC] to consider three very different Gothic heroines: the mother of a dead daughter, a nurse in a childrenâs hospital, and a television reporter. The antagonistic call to care of the ânightmare of presenceâ will be used to interrogate spatial aspects of the Gothic heroine. Keywords: Jaume BalaguerĂł; haunted house; Spanish Gothic; Spanish horror; Spanish film Jaume BalaguerĂł ha desarrollado un grupo de pelĂculas exitosas que demuestra una preferencia hacia el escenario clĂĄsico de lo gĂłtico, la casa encantada tanto como la heroĂna gĂłtica que la investiga. Este ensayo estudia en primer lugar el concepto derrideano de âlos sueños de presenciaâ (segĂșn la teorĂa de geĂłgrafo cultural Mitch Rose), para proponer las âpesadillas de presenciaâ en que el vĂnculo, la llamada a compromiso, entre el sujeto y el espacio en que se mueve o que habita, llega a ser gotizado; pero que fija al sujeto en el espacio relevante. El argumento se enfoca en Los sin nombre, Fragile y [REC] para considerar tres heroĂnas distintas: la madre de una hija muerta, una enfermera en un hospital para niños, y una locutora para un programa televisivo. La llamada antagonista de la pesadilla de presencia se usa para interrogar los aspectos espaciales de la heroĂna gĂłtica
âA Chain of Creation, Continuation, Continuityââ: Feminist dramaturgy and the matter of the sea
This article considers what remnants of the imaginary link established between the
maternal and the sea might still be useful in feminist performance practice and theory.
It does so by discussing a practice-as-research experiment that adapted strategies from
HĂ©lĂšne Cixousâs Ă©criture fĂ©minineâwhich performs a liquification of ordering
structures in prose writingâinto a dramaturgical form based on the logic of waves.
The article goes on to suggest that such a dramaturgy recasts creation as a fluid state
of becoming ex tempore, resisting the masculine-connoted vision of creation as an act
of the singular genius ex nihilo. It further argues that drawing on a non-human
phenomenon, the sea, to describe and theorise a type of dramaturgical composition
might be read as a twofold attempt on the hegemony of patriarchal culture: through its
associative link with the maternal body the creative potential of the feminine is
revalued while at the same time the generative capacity of the non-human is
recognised via Gaston Bachelardâs notion of the material imagination. The article
concludes by proposing that the sea, together with its analogic association to the
maternal, can be instated as a figure that gives temporary shape to an alternative
vision of cultural production
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