Assessing the Impact of Communications Strategy and Ethical Positioning on the Resilience of a Political Career Facing Scandal: Critical Analysis of Sexual Scandals within American Politics

Throughout the evolution of public political discourse we have repeatedly seen the effects of scandals on the careers of many politicians. Although the cultural and societal norms that have traditionally dictated the results of such scandals have changed dramatically within the last two centuries, I believe that the aftermath of these scandals may be better understood by analyzing and comparing the politician’s previously established public image to the scandal at hand. I will argue that a negative impact only occurs if and when there is a clear contradiction of character that presents the politician as a deceitful or hypocritical person in the media sphere and therefore the eyes of the publi

Communicative Strategies of Usage of the Phraseological Units Denoting Interpersonal Relations (Based on German Language)

Статтю присвячено дослідженню фразеологічних одиниць німецької мови, які об’єднані спільним значенням «міжособистісні відносини». Зокрема, розглянуто особливості структури фразеоло¬гічних одиниць, їх функціонування в мові, вплив на реалізацію комунікативних стратегій. The article is devoted to the research of German phraseological units combined by the common meaning «interpersonal relations». The particularities of the phraseological units’ structure, their functioning in the language, their communicative strategies’ implementation are considered

Stranger Than Fiction: Gothic Intertextuality in Shakespears Sister’s Music Videos

The following article is going to focus on a selection of music videos by Shakespears Sister, a British indie pop band consisting of Siobhan Fahey and Marcella Detroit, which rose to prominence in the late 1980s. This article scrutinizes five of the band’s music videos: “Goodbye Cruel World” (1991), “I Don’t Care” (1992), “Stay” (1992), “All the Queen’s Horses” (2019) and “When She Finds You” (2019; the last two filmed 26 years after the duo’s turbulent split), all of them displaying a strong affinity with Gothicism. Fahey and Detroit, together with director Sophie Muller, a long-time collaborator of the band, have created a fascinating world that skillfully merges references to their tempestuous personal background, Gothic imagery, Hollywood glamour and borrowings from Grande Dame Guignol, a popular 1960s subgenre of the horror film. Grande Dame Guignol is of major importance here as a genre dissecting female rivalry and, thus, reinterpreting a binary opposition of the damsel in distress and the tyrant, an integral element of Gothic fiction. Therefore, the aim of the article is not only to trace the Gothic references, both literary and cinematic, but also to demonstrate how Shakespears Sister’s music videos reformulate the conventional woman in peril-villain conflict

What Ever Happened to My Peace of Mind? Hag Horror as Narrative of Trauma

In his pioneering study of Grande Dame Guignol (also referred to as hag horror or psycho-biddy), a female-centric 1960s subgenre of horror film, Peter Shelley explains that the grande dame, a stock character in this form of cinematic expression, “may pine for a lost youth and glory, or she may be trapped by idealized memories of childhood, with a trauma that haunts her past” (8). Indeed, a typical Grande Dame Guignol female protagonist/antagonist (as these two roles often merge) usually deals with various kinds of traumatic experiences: loss of a child, domestic violence, childhood abuse, family conflicts or sudden end of career in the fickle artistic industry, etc. Unable to cope with her problems, but also incapable of facing the inevitable process of aging and dying, she gradually yields to mental and physical illnesses that further strengthen the trauma and lead to her social exclusion, making her life even more unbearable. Unsurprisingly, scholars such as Charles Derry choose to name psycho-biddies horrors of personality, drawing attention to the insightful psychological portrayal of their characters. Thus, it would be relevant and illuminating to discuss films such as Die! Die! My Darling! (1965) and Whoever Slew Auntie Roo? (1971) as narratives of trauma. This will be the main concern of my article

Feminist Auto/biography as a Means of Empowering Women: A Case Study of Sylvia Plath’s Bell Jar and Janet Frame’s Faces in the Water

Feminism, as a political, social and cultural movement, pays much attention to the importance of text. Text is the carrier of important thoughts, truths, ideas. It becomes a means of empowering women, a support in their fight for free expression, equality, intellectual emancipation. By “text” one should understand not only official documents, manifestos or articles. The term also refers to a wide range of literary products – poetry, novels, diaries. The language of literature enables female authors to omit obstacles and constraints imposed by the phallogocentric world, a world dominated by masculine propaganda. Through writing, female authors have an opportunity to liberate their creative potential and regain the territory for unlimited expression. In order to produce a truly powerful text, they resort to a variety of writing styles and techniques. Here the notions of a situated knowledge and context sensitivity prove useful. There are three methodologies working within situated knowledge, namely, the politics of location, self-reflexivity and feminist auto/biography. All of them regard text as a fundamental tool to signify one’s authority, yet feminist auto/biography, a concept widely discussed by the British theorist Liz Stanley, appears to be the most empowering mode of writing. It challenges the overused genre of auto/biography and reconstructs its role within feminist epistemologies, thus creating a favourable environment for text production. The works by Sylvia Plath and Janet Frame can be analysed from the point of view of auto/biographical empowerment, even though their auto/biographical potential is mainly instinctive. Nevertheless, they help to comprehend the strength of the auto/biographical. The aim of this article is to “investigate” two novels by these authors, The Bell Jar by Sylvia Plath and Faces in the Water by Janet Frame, and their compatibility with Stanley’s concept. The paper attempts to answer several questions. Are these novels actual feminist auto/biographies or rather fictional auto/biographies with feminist undertones? What kind of narrative strategy is used to achieve the effect of authority over the text? Last but not least, what is the function of auto/biographical narration in the case of these two novels? The article also explores the idea of writing as a means of regaining control over one’s life (with references to the authors’ biographies and parallels between their lives and lives of their fictive alter egos)