Open Access (free)
Face to face with the past
Author: Melanie Giles

The ‘bog bodies’ of north-western Europe have captured the imagination of poets as much as archaeologists, confronting us with human remains where time has stopped – allowing us to come ‘face to face’ with individuals from the past. Their exceptional preservation allows us to examine unprecedented details of both their lives and deaths, making us reflect poignantly upon our own mortality. Yet this book argues that they must be resituated within a turbulent world of endemic violence and change, reinterpreting the latest Continental research and new discoveries in this light. The book features a ground-breaking ‘cold case’ forensic study of Worsley Man: Manchester Museum’s ‘bog head’ and brings the bogs to life through both natural history and folklore, as places that were rich, fertile, yet dangerous. Finally, it argues that these remains do not just pose practical conservation problems but philosophical dilemmas, compounded by the critical debate on if – and how – they should be displayed, with museum exemplars drawn from across the globe

Open Access (free)
Mother–daughter relations in Paule Constant’s fiction
Gill Rye

herself); (b) the expulsion of Tiffany from the convent school for attacking her teacher, a maternal substitute whose overaffectionate advances she Mother–daughter relations in Constant’s fiction  rejects, with an ‘envie de vomir’ (p. ) (desire to vomit); (c) the subsequent return of Tiffany’s mother from Africa paradoxically brings with it a renewed gulf between mother and daughter. Disgusted with Tiffany’s behaviour, her mother rejects her once again: ‘ne m’appelle pas maman . . . jusqu’à nouvel ordre, tu ne m’appelles pas maman?’ (p. ) (don’t call me mummy

in Women’s writing in contemporary France
Open Access (free)
Melanie Giles

water was involved in the process of preservation, the results of immersion were not constant or predictable. Such observations led these authors to make comparisons with other well-preserved remains – the Grewelthorpe Moor bog body was described as ‘tanned and dried in a remarkable manner, somewhat like an Egyptian mummy’ (Lukis 1892 : ix). Leigh ( 1700 : 64) (who noted almost in passing the discovery of bodies ‘entire and uncorrupted’ from the bogs of Cheshire and Lancashire) notes the peculiar power of a ‘bituminous Turf’ from Hasil (near Ormskirk) that was

in Bog bodies
James Breasted’s early scientific network
Kathleen Sheppard

from 1881–86 and again from 1899–1914. He was responsible not only for translating a number of now-famous Egyptian texts, but also for opening a number of small pyramids and other tombs, removing the Deir el-Bahari cache of royal mummies, and unwrapping some of those mummies for study (Bierbrier, 2012: 359–61). In order to prepare for the excavation seasons, archaeologists had to visit the Director in order to obtain permits to work in particular areas. Maspero was known as an agreeable Director, so in 1886 when he resigned his post some European archaeologists were

in Communities and knowledge production in archaeology
Open Access (free)
White male vulnerability as heterosexual fantasy
Susanna Paasonen

is tightly entangled with the notion of women’s culture as an iconic piece of ‘mummy porn’ that has been often defined as a compendium of E. L. James’s own sexual fantasies (e.g. Dymock, 2013: 883). Here, Christian –​‘a broken man who needs fixing through love’ –​stands for the penultimate heterosexual fantasy figure who, despite his shell of privilege, remains but a fragile husk of a man. Despite Christian’s extraordinarily exclusive lifestyle that the novels so attentively detail, the quotidian reverb of ‘raising the ordinary to the extraordinary’ (James, 2015

in The power of vulnerability
Open Access (free)
Film festivals and the revival of Classic Hollywood
Julian Stringer

preservationist concerns. To give just one example, the Universal horror classics Frankenstein (1931) and The Mummy (1932) were revived at the Puchon International Fantastic Film Festival, South Korea, in 2001, within the context of a desire to explore knowledge around this particular genre. 18 To be sure, there was a ‘reason’, a justification, for such revivals – the appearance of

in Memory and popular film
John Borneman

was a huge mound of dirt that resembled unexcavated Aztec and Mayan temples I’d seen in Mexico and Guatemala. Under that mound was Lenin, now fully grown over with wild grass, only two small spots of his granite nose sticking out, reputedly the result of efforts by another American to uncover the bust. For the film, I interpreted this burial as a fear of the power of the icon to mobilise Ostalgie, a fear of a melancholic holding on to the past of which Lenin was a symbol. In Russia at the time there was a debate about whether to remove the Lenin mummy from Red

in Governing the dead
Open Access (free)
The leadership gamble of William Hague
Mark Garnett

still felt it necessary to ask Redwood the vital question: ‘Is he right wing?’).11 Previously she had helped to hamstring Major by styling herself a ‘backseat driver’ before her successor had the chance to prove himself. This time Hague stood beside his voluble patroness with a fixed smile. Possibly at the time he did not realise that the photo-opportunity had rebounded, but he was well aware of Thatcher’s destructive capabilities by the time of her ‘The Mummy Returns’ speech during the 2001 election campaign. His own weakness at the time of Lilley’s speech had left

in The Conservatives in Crisis
Siobhán McIlvanney

you be my mummy too/It would be easy, I love you so much already/So much!).13 In none of the works is the protagonist’s bi-cultural identity experienced as plenitude or enriching hybridity,14 yet the degree of alienation varies from work to work with the most intense desire for integration expressed in Ils disent que je suis une beurette.15 Samia offers the most condemnatory assessment of her Algerian heritage, yet, like Malika in Beur’s story, acknowledges generational differences in attitude and the complex imbrication of her socialisation process and cross

in Women’s writing in contemporary France
Open Access (free)
Robert Mackay

him goodnight. I was so afraid of him being a stranger when he came home. After all my efforts to get Stephen to remember Griff, even holding a pencil in his little hand and guiding it to form x’s at the bottom of letters, when his Dad did come home there was friction. Stephen couldn’t understand why this man was in Mummy’s bed.30 Like Dorothy Griffiths, Marjorie Townsend set out to keep her husband in her children’s minds but then fell prey to an additional worry: ‘While he was away, I used to worry about the children. I wanted them to know and love their father

in Half the battle