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When Billie Whitelaw was rehearsing Footfalls in 1976, she asked Beckett: ‘Am I dead?’, to which he replied cryptically: ‘Let's just say you're not quite there’ (Whitelaw, 1995 , 143). This equivocal presence of the body in the play recalls a precedent from twenty years before, namely the character Miss Fitt in the radio play All That Fall , who tells Maddy Rooney: ‘I suppose the truth is I am not there, Mrs Rooney, just not really there at all’ (Beckett, 2009a , 14). Though written two decades apart, both instances refer to the Jung
must not be allowed to intrude upon the dignity of the institution of Queenship.’ 6 The Queen’s peculiar status – as both person and symbol – is related to kingship (or, here, queenship) as an institution, as well as a biological inheritance that must be indelibly tied to the actual body of her person. As Joseph Roach suggests, in his historical study of processions, rituals and other civic performance, this kind of
a resilient example for a complex gendering of sovereignty in the context of the mass consumption of politics. Elizabeth I is perhaps not the only early modern queen but certainly one of the most memorable ones to use her public self-display – both her actual body and its diverse representations – to strengthen and disseminate her political power. The many portraits brought
figure, his tortured body and agonising stammer bespeaking not only the burden of monarchy, but most importantly his unrecognised goodness. While the film is willing to reference some of the ideological conflicts about Britain’s constitutional monarchy that prevailed in the 1930s, its insistence on Bertie’s victimisation and integrity forcefully inscribes not only his personal virtue but also, by
in what became the Gulf War. My argument is that Hollywood produced a particular ‘regime of truth’ 2 about America’s war in Vietnam and that this body of ‘knowledge’ was ‘articulated’ 3 by George Bush as an enabling ‘memory’ in the build up to the Gulf War. Vietnam revisionism and the Gulf War In the weeks leading up to the Gulf War, Newsweek featured a cover showing a photograph of a
-shots punctuating the film. In the scenes filmed in the Harley Street rooms, the two characters are juxtaposed and given equal screen-space. In the Regent’s Park scene they are framed in medium long shots so the viewer sees the bodies of the two men who are dressed almost identically, with dark coats and hats, two friends walking in the park. While much of the film involves cross-cutting between close-ups, and
pomp and ceremony, the depiction of the royal body and the image of the royal family. A third set of questions concern the extent to which these films not only represent the historical monarchy but also help maintain the institution of the monarchy by making it seem relevant and attractive to contemporary audiences. Given that these films play to international audiences, it is also important to ask about
also ‘an abstract concept’ (Clément, 2006 , 134) which designates a sense of an ending because everything that is or seems possible has been acted out or has been under consideration. There is a dialectics between the state of exhaustion and what remains possible. Exhaustion seems to be a condition for the invention of new possibilities, or as Deleuze puts it: ‘One can exhaust the joys, the movements, and the acrobatics of the life of mind only if the body remains immobile, curled up, seated, somber, itself exhausted’ ( 1998 169). The more exhausted someone is
body's insusceptibility or resistance to pathogens or diseases. Finally, in one nineteenth-century anthropologist's usage, ‘immunity’ is the opposite of ‘community’, referring to ‘the [Indo-Aryan] Household, considered as a corporate body, without any relation to other Households […] a Household, either wholly or in part, not included in any commune’ (Hearn, 1878 , 232, 234). What unites this social usage of the term with other usages is the most basic meaning of ‘immunity’ as ‘exemption from’. This corresponds to the first recorded sense of the
sovereign’s natural body and persists in the body political, guaranteeing the institution’s immortality. 9 As a female monarch, Elizabeth I was constituted by a normatively masculine symbolic body and a feminine natural one, a duality that is also marked in the relations of gender to power in her cinematic representation. Addressing the conflict between private person and public persona particular to female sovereignty, Elisabeth