Nonconformist religion in nineteenth-century pacifism
Heloise Brown

embodiment of many Quaker values within the ideology and practice of feminism. These values included the use of non-violence within protests, the insistence on the equality of women of all classes and races, the preference for democratic consensus rather than hierarchical decision-making, and the ties between the women’s movement and the peace movement.45 However, it is also possible to argue that Quaker women were drawn to the feminist movement precisely because its concern with manifestations of power resonated with their own views on women’s spiritual or moral authority

in ‘The truest form of patriotism’
Open Access (free)
White male vulnerability as heterosexual fantasy
Susanna Paasonen

young and brown-​haired drug addict mother by her pimp, who hit, kicked and burnt him with cigarettes. The stuff of trauma emerges as a key explanation for both Christian’s BDSM interest and  140 140 Vulnerability and visibility discomfort with physical intimacy in ways that position his kink preference as an outcome of harm, and therefore a problem to be solved. Anastasia, who becomes the only woman allowed to touch the scars on Christian’s muscular, sculpted torso, finds herself thinking of them as a ‘stark physical embodiment of a horrific childhood and a

in The power of vulnerability
Separate Tables, separate entities?
Dominic Shellard

’s the matter with me? There must be something the matter with me – I’m a freak, aren’t I?’ Miss Cooper, embodiment of Rattiganesque (and British, postwar?) good sense, makes the core speech of the play about ‘freaks’. I never know what that word means. If you mean you’re different from other people, then, I suppose, you

in British cinema of the 1950s
Open Access (free)
The ethics and politics of memory in an age of mass culture
Alison Landsberg

Alison Landsberg, ‘Prosthetic Memory: Blade Runner and Total Recall’, Body and Society 1: 3–4 (November 1995). Also collected in Mike Featherstone and Roger Burrows (eds), Cyberspace/Cyberbodies/Cyberpunk: Cultures of Technological Embodiment (London: Sage Publications, 1995), pp. 175–89, and most recently in David Bell and Barbara M. Kennedy (eds), The Cyber-cultures Reader

in Memory and popular film
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

significance and memory of the 1960s. Writing in 1993, scion of the New Left, Todd Gitlin, said: ‘the genies that the Sixties loosed are still abroad in the land, inspiring and unsettling and offending, making trouble’. 31 In Pleasantville , David and Jennifer become the figurative embodiments of these 1990s-cum-1960s genies. With their sexual savvy, political sophistication, and demystified notions of

in Memory and popular film
Robert Burgoyne

Technological Embodiment (London: Sage, 1995), pp. 175–89 and ‘America, the Holocaust, and the Mass Culture of Memory’. 13 Landsberg, ‘America, the Holocaust, and the Mass Culture of Memory’, p. 75. 14 Elsaesser, ‘One Train May Be Hiding

in Memory and popular film
Jeremy C.A. Smith

). Western modernity seemed to the Japanese to be the embodiment of ‘civilisation’ as a mode of being juxtaposed to the moral value attributed to the religious heritage of Asian civilisations (Gluck, 2011). In the early years, ‘being civilised’ meant superficially following Western etiquette, fashions and speech. Many Japanese came to believe that the deeper attributes of Western modernities could be carefully modified. Encounters with the conceptual apparatus of Western thought encouraged this understanding. As with other concepts that entered East Asia in wider

in Debating civilisations
Art and the temporalities of geomedia
Gavin MacDonald

, in the midst of a rapidly accelerating surveillance society, we can use the new found technical precision of space-time mapping as a rich and poignant means of asserting our own existential uniqueness. His media-specific configuration of time, space and embodiment gives us the opportunity to map global space-time in relation to our own movement through it. (Mitchell and Hansen, 2010: 110) As well as issues of power and control, artworks that employ these technologies enable us to reflect on our own participation in acts of timing and spacing,7 our own roles as

in Time for mapping
Open Access (free)
Laura Chrisman

… the atavistic other in a neocolonialist gesture that … disguises colonialist imperatives’.33 As I have already pointed out, however, Southern Africa has played a prominent, if academically underrecognised, role in British self-imaging, or ‘worlding’.34 And so the operations are simply not a demonic othering, the casting of the country as the racist embodiment of all that ‘liberal’ Britain is not. Instead they combine British nostalgia for its own early twentieth-century domination in Southern Africa together with a striking disavowal of its own agency in the

in Postcolonial contraventions
Gumboot dance in South Africa
Dana Mills

them. Isadora Duncan opened up further spaces for dissent in movement by dancing the chorus; Martha Graham allowed the complexity of psychic life to unravel by dividing the action between Jocasta and the Chorus, by opening up spaces for interruption in the narrative of Night Journey and through the use of the contraction as a choreographic mechanism for shared embodiment. Here, we see the line of gumboot dancers constantly interrupted by soloists who break away from its unison movement, performing in their individual style and inserting their language into the

in Dance and politics