tag:blogger.com,1999:blog-44912490427931736612024-03-13T09:04:05.965-07:00life at the sharp endKohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-4491249042793173661.post-34982194370017855942023-11-01T02:19:00.004-07:002023-11-01T04:26:36.699-07:00October 31 days of Halloween movie challenge 2023 (+ other spooky media)<p>No fucking around, no Leprechaun gimicks this time. But I did also do stuff other than watch films and I'd like to talk about them too.<br /></p><p></p><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoJnRMNEpuXgUyPmUiSlyJ9E26Yn-8IlAOA_Ee_Dn6SyhnIllR2rRtrbCIs_os0cyFEWPsU1OsJoaC9ZZefWAE7DG4Ce3xvPXCPWqUTIIxp796W-qTX6qSGLUeDsYPB4rIXCbePt7SnP-9zLiWFKc1WqSpkYzCit0WZU5CKS3FGAjIHLbYe_gBICPTcHAk/s512/cl114hoo7iog0080rjjg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="512" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoJnRMNEpuXgUyPmUiSlyJ9E26Yn-8IlAOA_Ee_Dn6SyhnIllR2rRtrbCIs_os0cyFEWPsU1OsJoaC9ZZefWAE7DG4Ce3xvPXCPWqUTIIxp796W-qTX6qSGLUeDsYPB4rIXCbePt7SnP-9zLiWFKc1WqSpkYzCit0WZU5CKS3FGAjIHLbYe_gBICPTcHAk/s320/cl114hoo7iog0080rjjg.jpg" width="320" /></a></div><br /><p><br />1. Godkiller - Edgey AF "action comic" with a shockingly good voicecast for something so trashy. My inner teenager enjoyed it immensly.<br />2. Baghead - Duplas brothers pseduo horror. It's fine but not great. Not a patch on Creep or any of their subsequent work.<br />3. Odd Noggins - I stuck this on at random after browsing Prime for stuff. Looked like it might be a fun low budget indie horror, and I was right about most of that. I guess they had a lot of fun making it but it wasn't funny and unless seeing pretty normal looking middle aged people bone is supposed to be scary, not scary.<br />4. Where The Dead Go To Die - one of the great works of "disturbing media", bad 90s / 00s CGI animation doing some really gross stuff. Like a lot of extreme media (eg, the novel Cows), I don't know how far the tongue is in the cheek on this one, but I feel like they are self aware to some extent. Kind of reminds me of The Shivering Truth but with a hard X rating.<br />5. Inseminoid - 80s "classic". Eh, it's fine.<br />6. Captain Kronos: Vampire Hunter - Rare re-watch. I recall seeing this as a child and rather liking it. Its great, Hammer doing a rare original IP and it all (script in particular) is just better and goes far harder than they typically did back then.<br />7. There's Nothing Out There - self aware po-mo 90s indie horror that supposedly Wes Craven stole the ideas from for Scream, or at least thats what's implied in the short Copycat (also on Mubi). Jury is well out on that one. It's fine.<br />8. Talk To Me - recent A24 darling that is doing the rounds, this years St Maud and about as devisive. I really liked it. Good premise, well executed lots of creepyness and some good scares.<br />9. Cobweb - Another new one, great stuff. Creepy as balls and lots of good scares and gruesome kills. Homelander is in this as the Da and he's grrrrreat!<br />10. Soft and Quiet - Actually more of a thriller than a horror but for that it has some of the most genuinely terrifying characters you'll ever see on screen. Nazi Karens! Karenazis! The horror, the horror....<br />11. Dawn Of The Dead - I watched the long version on Youtube that has everything in it from all the various cuts. Even though that's not a version any professional editor or Romero intended to put out, it still was an incredibly enjoyable experience that mostly holds up really well. <br />12. Moon Garden - Oh, I love a good dark fairy tale horror. Great effects for what was apparently a really tiny budget. The child actor that plays the lead was brilliant.<br />13. VHS 1985 - Fine. I've come not to expect a whole lot from the VHS franchise and this delivered. Nice degraded media and glitch aesthetic-y stuff, good atmosphere in some sections but a lot of the individual stories and performances weren't up to much.<br />14. Freaky - I genuinely enjoyed this. Absolutely delivered as anything you could want from a horror slasher comedy and wrung all you can from the premise. My only regret is not watching it the day before on the actual Friday The 13th<br />15. Medusa - Disappointing. Didn't go anywhere interesting, do much with the premise and no good scares or kills. The social / policical commentary was all there and was all well and good but it didn't tie the elements together in a satisfying way.</p><p></p><p></p><p>16. Bad Things - Queer horror film. Not great, felt like they were trying to do elevated / post-horror but didn't land any of the punches thrown. <br />17. The Lodge - Oh this was much better. Simmilar to bad things, elevated subtle vibes-y horror but this had a lot more teeth and doesn't take long getting right in your face and under your skin. I guessed the ending really early on but it delivered so brutally and brilliantly that it didn't deminish it one iota.<br />18. Invasion Of The Body Snatchers - the one from the 70s with Donald Sutherland. Re watch, haven't seen it since I was wee. Still great, brilliant script, good performances, creepy, eerie vibes and good scares. <br />19. Perfect Blue (rewatch) - One of the greatest, one of my absolute all time favourites. Kon knew how to do layers with visual storytelling and here in one of the stand out animé debut features of all time deploys all that to brilliant effect.<br />20. Paranorman - nothing says halloween like a bit of creepy stop-motion. Brilliant, if not quite as great as some of Liaka's other work<br />21. The Guardian - William Friedkin died earlier this year so instead of watching The Exorcist like someone normal I watched this bonkers (in a fun way) evil nanny movie he did in the 80s. Nicely atmospheric and a great ending.<br />22. Husera: The Bone Woman - really interesting and well done LGBTQ+ horror from mexico. A woman settling down into a nice comp-het lifestyle with a baby and opposite-gender life partner is haunted and stalked by her own queerness, with some preggo body-horror thrown in there. <br />23. No One Will Save You - good creepy alien-home-invasion horror with great atmosphere and genuinely creepy SFX. The whole "no dialogue, just visual story telling" thing really worked. Should have been called Alien Vs Cottage-core.<br />24. The Last Broadcast (rewatch) - the original and by far the superior of the early FF Horrors of the late 90s / early 00s. I love how the scariest thing about it is how prescient it is of the modern post internet cultural landscape considering when it was made and released.<br />25. M3GAN - Creepy evil doll robot, using the uncanny valley intentionally for horror is a masterstroke tbf. A lot of fun.<br />26. The Raven (rewatch) - Vincent Price, Boris Karloff and Peter Lorre in the intentionally funny Poe adaption. Classic tbf, the Wizards Duel at the end really gave me a hankering to play Magic The Gathering again.<br />27. Good Madam - I always like to try to get something in from each continent when I'm doing these. This Peele-esque satirical chiller from South Africa with dialogue mostly in Xhosa was maybe a bit more effective as a bit of social / political commentary / exploration of post-apartheid race relations than as a horror film. Good tho all the same. <br />28. The Sect - early 90s Giallo, produced by the don himself Dario Argento. A lot of fun bloody kills early on (and one really good one involving a rabbit at about 1hr 30 in) but its a bit too long and the plot meanders all over the 2nd act. It's fine. <br />29. Titane (rewatch) - One of the best films (in general, any genre) of recent times,best film of 2021 and in the top 5 of the decade so far. Uncompromising, visceral and has some extremely gnarly scenes, yet surprisingly sweet and wholesome. It's about Faahmly!<br />30. When Evil Lurks - New horror from Argentina that is getting a bit of a rep as one of the best of the year. I can see why, it is unrelentingly bleak like The Dark And The Wicked but amped up, and throw a bunch of creepy murderous children into the mix and you have a heady brew there. Brutal in the best way.<br />31. Evil Dead 2: Dead By Dawn (rewatch) - Always nice to round these off with an old favourite. The king Bruce Campbell riffing further on the plot and lore of the original, with a lot of inspired camera work, impressive practical effects and genuinely funny physical comedic acting. Still one of the level best in the genre.<br /><br />Other things:<br /><br />TV-</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBOcq2vQhBuuqdgThvh6tOGfOUmEgFh3fr4StR7AgQ8ZLGM9whOLU7cinPflnydjOKHlwwA9H_nColUY3uXouCI9kaiIPgEXfZRDeRFWUZ5H5cQPkgDUJd-yDA-nVOs6c7fIeyt3GxXil3eCC34Opt9TLR-b1_SRjnTN6K3lG0-Aacq7CF2xvb9oW4ZBz0/s512/cl118fgo7iog0080rn8g.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="512" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBOcq2vQhBuuqdgThvh6tOGfOUmEgFh3fr4StR7AgQ8ZLGM9whOLU7cinPflnydjOKHlwwA9H_nColUY3uXouCI9kaiIPgEXfZRDeRFWUZ5H5cQPkgDUJd-yDA-nVOs6c7fIeyt3GxXil3eCC34Opt9TLR-b1_SRjnTN6K3lG0-Aacq7CF2xvb9oW4ZBz0/s320/cl118fgo7iog0080rn8g.jpg" width="320" /></a></div><br />I watched the TV series Castlevania: Nocturne and Fall Of The House of Usher on Netflix. These are both updates to long running prestige Netflix projects, Nocturne being a new adventure set a couple of centuries after the original series and Fall' being a new Mike Flanaghan project with multuple returning cast members from his previous works for the channel. Both were excellent. <br /><br />Nocturne updated the stylish dark action fantasy of the previous series to a different time period - this time 1792 during the bourgeois revolution with native-Americans, Haitian characters and the egeneral theme of revolution and counter-revolution as an important constituent part of the story. Great writing, complext character dynamics, bitching animated action and aesthetic in general. Can't wait for the rest of it to drop.<p></p><p>Fall of the House of Usher was a somewhat silly but very well produced modern riff by Flanaghan on the Edgar Allen Poe canon of work. It also throws in a bit of contemporary anti-corporate discourse and the main family is based to a degree on the IRL horrors of the Sackler family's empire of pain. Still, its not brilliant satire and best enjoyed if one doesn't take it too seriously. Good acting and writing, some fun kills and it does a lot more with the source material than say The Haunting did with the Shirley Jackson corpus.</p><p>Books-<br /><br />I also read a bunch of horror fiction. I'm more of a sci-fi and fantasy head. As much as I like my stuff dark straight up horror doesn't generally do a lot for me. But this being the season I decided to get stuck into some horror literature relevant to my interests.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdeHPkQ9HTzTTdE1THHvgWubs1E9FHjhA4SHecHEUATYywNS06M6uEao95wmFp7It9ObEfCEx6VDwLsJMnmCeizOucL4n2ETYoBgTggr1dPMTGGWp_hAdm_61K3Ma_l_rA_EzyxJU2m47J5730ACjPNfplJmhzMKzgVR6her92dNWsh9qDusPZQnVtM9jN/s256/50375d4bb7da4fc4a648d8643d39aadc1718e0a7.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="256" data-original-width="256" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdeHPkQ9HTzTTdE1THHvgWubs1E9FHjhA4SHecHEUATYywNS06M6uEao95wmFp7It9ObEfCEx6VDwLsJMnmCeizOucL4n2ETYoBgTggr1dPMTGGWp_hAdm_61K3Ma_l_rA_EzyxJU2m47J5730ACjPNfplJmhzMKzgVR6her92dNWsh9qDusPZQnVtM9jN/s1600/50375d4bb7da4fc4a648d8643d39aadc1718e0a7.webp" width="256" /></a></div><br /><p>Last Ones Left Alive by Sarah Davis-Goff - A queer, feminist and Irish take on The Walking Dead post-Zombpocalypse type story. It was alright.</p><p>Your Body Is Not Your Body - an anthology of body horror / weird fiction by Trans and other LGTBQ+ writers. As you'd expect from such a tome, even the stories that weren't that great were packed with interesting ideas and perspectives. </p><p>Revival by Stephen King - A relatively recent one and supposedly one of his best. I wasn't overly enamoured with it. A lot of the emotional core of the story is predicated on Boomer nostalgia. Where it touched on themes and ideas more relevant to my experience and interests I didn't think it hit the mark. The ending fell a bit flat, but probably because I'd already had it a bit too hyped-up.</p><p>Never Whistle At Night - An anthology of dark fiction from Native American authors. As with the previous short story collection, if you want effective horror you go to people that have some serious IRL shit to process and this one also delivers. Even the stories that are not as good as horror as some of the rest have a lot of great ideas in there.</p><p>The Shee by Joe Donnelly - <span class="Formatted">Gloriously dumb, old school mass market paperback horror from the 90s with a bit of
an Oirish-y twist. Archaeologists digging up a New Grange style passage tomb accidentally unleash The Morrigan, which for the purposes of this novel is a female beasty with It skillset and MO on a small Irish fishing village on the Connaght coast. It was very much of it's time, has a lot of old school misogyny, ableism and
ridiculously stereotyped Irish characters but it's fun and dumb enough
that it's difficult to take proper offence. It has some deliciously
gnarly kills that lean quite heavily into the monstrous feminine
imagery, sexual and maternal stuff being a running theme. Personally I found
it incel-y enough to be laughable. It also has a little bit of 'troubles'
discourse, just to really "Irish" it up, which is again borderline
offensive - like one could imagine a Garth Merenghi story saying all Irelands woes
from time immemorial through to an gorta mór and everything in the last
century is down to a witches curse. Anyway, 'tis enjoyable for what it is but best not to take it too seriously.<br /><br />So that was my October. I did also get out to a few gigs, saw Fear Factory and guests in Belfast on the 30th, which was a lot of fun. I still have other stuff on, films I "aquired" or ermarked on streaming that I didn't get to, and a showing of the silent horror </span>Häxan<span class="Formatted"> from the 20s with a live orchestra to look forwads to on Thursday. Spooky season is by no means over yet, it never really ends to be fair.<br /></span></p>Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-13393376885318446232023-09-05T06:30:00.017-07:002023-09-05T09:56:51.902-07:00Supersonic 2023<p></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="401" data-original-width="401" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgfftrzMnPz6iZaiLLGlma_Vpguda7cPYrVODrTLcNSzG_xwOVTEfN21debj8TvXf5e2TdZJ1BjOupon4heA0vFGCIKAyLZG5VqAMKqVlmcETmsxL4z2tN_IxB_e3gBbU-6fQnYQI_-BHDhYNHrMydTb-BL7T8yajclHMF-YUVhzPl3fZSTYQ4dSCJK8HE/s320/SS2023%20Logo.png" width="320" /></div><!--[if gte mso 9]><xml>
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Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
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<p></p><p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><a href="https://supersonicfestival.com/" rel="nofollow" target="_blank">Supersonic Festival</a> has been very much on my festival bucket list
for some time. I don’t remember the first time exactly that I came across one
of the line-ups and thought “damn, this is everything I’m really into, I need
to make this happen some year”, I mean like literally I could have been any
time between 2012 and the one they were supposed to do in 2020, the weird psycho-temporal-distortion
effects of the lockdown now mean many things prior to that point are a mash. But
at any rate It was on my radar for some while but being in an unfamiliar city
over the water and all the hassle with flying and general interest but not to
the point of being arsed doing anything about it of my general friend circle
has just led to it getting pushed off on the long finger until this year.</span></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Why now? Could just be consciousness of getting older and knowing
I might well not be able to do this forever. It could also have been getting to
experience the festival in the odd-parasocial way that I did when they had the
lockdown live-stream which if not exactly delivering the festival experience in
its fullest was still very enjoyable and was able to deliver the vibe and ethos.
I would like to think I would have gone that year anyway if not for the plague.
<a href="https://lankumdublin.com/ " rel="nofollow" target="_blank">Lankum</a> were on the line up and as already a bit of a fan I was intrigued to see
what they would do in a bit less restrained setting than the seated CQAF gig I’d
been to before.</span></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">So this year when I was looking at stuff to do I put the word out I
was if not committed then at least tossing up the possibility of going on my
own, but of the people I got in touch with, I did get a bite. My mate John who
is not on socials and I see maybe once or twice a year pre pandemic, and since
him and his wife Tara had a kid and moved out of Dublin during lockdown, not
even as much as tha. But he’s a huge Godflesh fan, really liked the look of the
rest of the proceedings and committed to the full weekend with the Mrs joining
us for the Saturday.</span></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">First hurdle of actually getting there ended up being a wee bit of
a melt, airport delays, rail strikes and traffic accidents had me getting into
Birmingham a little later than expected, then the process of getting settled
meant that I didn’t quite get off to the venue, which was a very short walk
from our accommodation until the early evening and I missed a few of the first
bands.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOjQYmG3Ihke9b1PVKfiHXyXmrJzojc_nZX4Zs1Bru2J2jRoerokY9K5VWoT-C7f44hHtnnbwzurMHdSl_SNRAoLwVMdNWw1Z8nlvODeUu3OwqWflyd1ZRpWN468ku4OT4IjIyjhFGzGnRuYGFpUy3UPGiX2M_kHPO1bZldv2eQwKX4mBtOlv6VlZDZEFV/s2048/IMG_20230902_161142910_HDR_Glitch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="607" data-original-width="2048" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOjQYmG3Ihke9b1PVKfiHXyXmrJzojc_nZX4Zs1Bru2J2jRoerokY9K5VWoT-C7f44hHtnnbwzurMHdSl_SNRAoLwVMdNWw1Z8nlvODeUu3OwqWflyd1ZRpWN468ku4OT4IjIyjhFGzGnRuYGFpUy3UPGiX2M_kHPO1bZldv2eQwKX4mBtOlv6VlZDZEFV/s320/IMG_20230902_161142910_HDR_Glitch.jpg" width="320" /></a></div><br />
<div class="MsoNormal" style="text-align: left;"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Or I should say “Venues” – as in the plural. The festival took
place between two buildings, one big space for the main room in the 7SVN with
all the bigger acts and The Mill, which had mutiple floors, trader room,
outdoor food court (which all looked amazing, smelt unreal and were reasonably
priced but I couldn’t engage with personally), second venue and a nice roof top
garden with its own sound system and DJs. As with Arc Tangent the crack was one
room on, one room off and set up between sets, with Merch tables being manned
at the back of each room if you wanted to support the act that were just on.
Having timed it to get from the main stage to the first floor of the mill where
the other one was it was literally just a couple of minutes but that did involve
crossing a live road (with high vis wearing festival security playing the part
of lollipop man, without themed Bloody-Teardrop lollipops unfortunately,
possibly due to legal reasons) and you had to finish your drink as you weren’t
allowed to take alcohol between the two rooms (probably also for legal reasons
tbh though it could well have just been ruse to sell more IPAs </span><span face=""Segoe UI Emoji",sans-serif" style="mso-bidi-font-family: "Segoe UI Emoji";">😊</span><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">).</span></div><div style="text-align: left;"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span></div><div style="text-align: left;"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">
That was certainly all a bit odd but the festival does host a series of talks
and have referred to the struggle of running a small underground community
festival with a genuine radical ethos in a rapidly gentrifying area of a city,
venue insecurity and other practical effects, something I know even big
commercial festivals here struggle with, so I suppose those wee things are part
of the crack and give the whole proceedings a bit of character.</span></div><div><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"></span></div><div style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">So before getting into the bands and days as stuff, just general impressions of
the festival itself are incredibly positive. Everything I could have hoped for
a small boutique underground with a range of noise adjacent music from chill
meditative ambient to the most ridiculously heavy rock and metal to full on fist-pump
Bangface-appropriate rave. Just enough of everything to give it a bit of
variety so you really appreciate all the individual pieces in context and that
whole through line of noise and general playfulness giving it a consistency
too. The crowd was, as with ATG, as with Bangface these days and I’m guessing most
spaces where the genuinely cool people who get the crack congregate to be fair,
politically radical, alternative, queer, feminist, trans-inclusive, friendly,
approachable. The vibe checker app on my smartphone was going crazy all
weekend</span><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span><br /></div><p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">
So, first thing I managed to catch on Friday was the last bit of local post-punk
outfit <a href="https://totalluck.co.uk/ ">Total Luck</a>. Great start to the proceedings as the heaviness and liveliness
where what I needed at that point to dust off<span style="mso-spacerun: yes;">
</span>the cobwebs and get myself moving after all that travelling. We missed
whatever was on next in favour of a bit of exploring and seeing what the layout
of the whole thing was. We did get to see <a href="https://deerhoof.website/ " rel="nofollow" target="_blank">Deerhoof</a>, the Friday headliner and
something I was particularly looking forwards to. Lively, eclectic guitar based
music, constantly transitioning between styles and tying together with J-Pop
vocals tying everything together. A complete blast beginning to end. </span></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">After that a bit more mooching about the venue before back to the
main room for <a href="https://heycolossusband.wordpress.com/ " rel="nofollow" target="_blank">Hey Colossus</a>, who I wasn’t mad familiar with before but knew
where right up my street from the second I heard the deep, menacing, Echo(and
the Bunnymen)-y gothic drone of the first tune. After that, back to the mill
for live analogue face-melt industrial techno 2-piece <a href="https://www.instagram.com/giant_swan/" rel="nofollow" target="_blank">Giant Swan</a>. Having been
suitably pumped by that we finished on the main stage for <a href="https://www.instagram.com/infinityknives/" rel="nofollow" target="_blank">Infinity Knives and Brian Ennal</a>s brining some sick bass-heavy alt hip-hop.<br />
<br />
Tempted as I we were to continue the night either with the small gaggle of sound folk we’d got chatting with in the smoking area or to book up to a
gig being out on by one of the extended Hard Crew fam, all the travelling and
festivities was catching up with us and we had to call it quits.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzrHGx3-r72JKr_Kp9fJcbs-ahiyBZUfGonM5TnzGPKk-22ZwIA0Mou0k0PTCiLKjD2E6TIUeKF44xWXh3XUYSkRVmhXnRWfHsaSkTW4EAXy3s--JdooetKA4r7XPZoYXyi9cjD8MYnokUIkEfQ5AlT1M_phsA8iQIBqMhL4FijviLIdk7AXCijQU-P6OY/s4080/IMG_20230903_151407737_HDR.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4080" data-original-width="3072" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzrHGx3-r72JKr_Kp9fJcbs-ahiyBZUfGonM5TnzGPKk-22ZwIA0Mou0k0PTCiLKjD2E6TIUeKF44xWXh3XUYSkRVmhXnRWfHsaSkTW4EAXy3s--JdooetKA4r7XPZoYXyi9cjD8MYnokUIkEfQ5AlT1M_phsA8iQIBqMhL4FijviLIdk7AXCijQU-P6OY/w151-h200/IMG_20230903_151407737_HDR.jpg" width="151" /></a></div><br /><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span><p></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Saturday, John stalled at the flat waiting for his partner, who
was also experiencing some of the travel woes I’d been subject to the day
before. I had a nice afternoon bate’in about on my own through Digbeth doing a
bit of exploring on my way to the other-other venue, an art gallery a couple of
streets over from the rest of the stuff that hosted the talks, pub quiz and
film showings (which I went to) in the afternoons. Digbeth strikes me as like
the local Brum version of Camden or the couple of genuinely cool bits off Royal
Avenue here, CQ, Union St. etc. Lots of cool wee spots, a complex with an
Arcade Bar next to a Boardgame Café, next to a cinema bar, some small
independent art galleries and workshops, loads of absolutely phenomenal graff
and street art all over the place. I got to see a showcase of music videos and
short video art projects from Ipecac, Mike Patton’s own indie label. </span></p><p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> <br />
First music I caught was the hardcore punk group <a href="https://www.instagram.com/musicblindeye/" rel="nofollow" target="_blank">Blind Eye</a> in The Mill. As it
was early in the day the front of the stage was nice and roomy so I had a lot
of space to jump about in, which I definitely made the most of. <a href="https://www.blacksmyths.com/ " rel="nofollow" target="_blank">Black’s Myths</a>
was a very different energy, lots of drone-doom goodness with a bit of jazz
drumming to give you something to move to, no breaks between songs just a constant
roll that you can get yourself into properly. After that I saw <a href="https://ashenspire.bandcamp.com/ " rel="nofollow" target="_blank">Ashenspire</a>, who
I’d had the pleasure of seeing do their queer anarchist blackened jazz-metal at
ATG a couple of weeks ago and once again enjoyed the hell out of before nipping
out a little early to get a good spot for <a href="https://www.instagram.com/taqbirband/" rel="nofollow" target="_blank">Taqbir</a>.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz9gAc4OV634xlJdBzOj_uDY_b5NqrYe9yayfo7xnxoFFLb0bipTOHHhp6QFmlU__dsHn-AMGc1yGkd0WsVM5WLyGTJX5jygYJHtYMjrGnyOvkqHQmrhRZetONYM-Au1QzwC779EiNHVgYtuLPzAgQJEV7jVe7aVa5Vfhz-7rXILD3c6AhdHUHXxuIicWi/s2048/1000001724_Glitch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1290" data-original-width="2048" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz9gAc4OV634xlJdBzOj_uDY_b5NqrYe9yayfo7xnxoFFLb0bipTOHHhp6QFmlU__dsHn-AMGc1yGkd0WsVM5WLyGTJX5jygYJHtYMjrGnyOvkqHQmrhRZetONYM-Au1QzwC779EiNHVgYtuLPzAgQJEV7jVe7aVa5Vfhz-7rXILD3c6AhdHUHXxuIicWi/s320/1000001724_Glitch.jpg" width="320" /></a></div><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span><p></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Taqbir are a riot girl group from Morocco in North Africa who
perform with the full face Niqāb - for personal safety moreso that religious
observation as their radical feminist and queer-inclusive messaging in their
songs puts them in the line of fire of conservative groups back home and in
general. Punk at its rawest from a circumstance where its ethos is at its most urgent,
it had an edge on it that you just don’t get in hardcore in the occident where the
innate revolutionary politics are less urgent. They played a short set, as
befitting of the genre, but were a definite highlight of the evening. After
that I caught a little bit of writer and Oxbow frontman <a href="https://substack.com/@eugenesrobinson" rel="nofollow" target="_blank">Eugene S Robinson</a> being
interviewed in the dealer room by an old festival friend who I’d had a lovely
time catching up with for the first time IRL in near ten years. Between that
and having to nip back to the gaff for food I missed the only thing I am in
retrospect incredibly gutted at missing all weekend, <a href="https://www.youtube.com/channel/UC0qOq6REeotLfd3Im3FQ18A" rel="nofollow" target="_blank">Divide and Dissolve</a> who
apparently wrecked the place with one of the nosiest, loudest and generally
memorable performances of the weekend.</span></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">By the time I got back John and Tara were on site and despite being
a bit worse the wear for all the travelling and whatnot we managed to get in
the headliners <a href="https://godflesh1.bandcamp.com/" rel="nofollow" target="_blank">Godflesh</a> on their loudest and most abrasive form I’ve ever had
the pleasure of catching. </span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjune3Zbgu05H91nBTg1R9EgGzg5OI9SHWBgPC2_rZZs6Q2fmYYbvcWAHPUz4DVvxNuKmdrcLXUaj3rXYL9f3I_cUpRa5FFbp6lDZ49zBaAibeRlTKXoP4zmD0Hzo-TUsoQpir23l8wzSHdZs0gn9O0nklPQfMkZLKnYvvMJ8FSomppezXV3Fj_gYITc75i/s2048/1000001737_Glitch2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1647" data-original-width="2048" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjune3Zbgu05H91nBTg1R9EgGzg5OI9SHWBgPC2_rZZs6Q2fmYYbvcWAHPUz4DVvxNuKmdrcLXUaj3rXYL9f3I_cUpRa5FFbp6lDZ49zBaAibeRlTKXoP4zmD0Hzo-TUsoQpir23l8wzSHdZs0gn9O0nklPQfMkZLKnYvvMJ8FSomppezXV3Fj_gYITc75i/w200-h161/1000001737_Glitch2.jpg" width="200" /></a></div><br /><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span><p></p><p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">We saw <a href="https://ra.co/dj/djbusreplacementservice " rel="nofollow" target="_blank">DJ Bus Replacement Service</a> who was less weird and more straight up doof than I was expecting, deviating from the
relentless techno for a bit of bassline and a censored cut of DJ Assault’s
classic Ass and Titties, all while being supported from the sidelines by her
partner Surgeon. That was just like a little slice of Bangface right in the
middle of the fest, complete with inflatables going off all over the room and
general silly fun vibe. </span></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Then <a href="https://www.backxwash.com/" rel="nofollow" target="_blank">Backxwash</a> finishing the main stage. It was actually
the inclusion of Backxwash to the lineup for their UK debut that had made me
get my arse in gear about committing to going this year. She’s an artist that I’d
fallen in love with over the lockdown when I’d had a bit more time to explore
and indulge my passion for musical exploration. Aggressively queer alternative
hip hop with elements of industrial noise, black metal and samples of back
radical thinkers and cultural figures, X, Davis, Nina Simone etc. and contemporary
hip-hop rhythms. A very heady and unique brew, brilliantly executed and clearly
loving having the opportunity to get over and do their thing in front of such
and appreciative crowd.</span></p>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1oVLa_6ScWPu0eeOsmqkx9lrF8jTkV_ngkJQqwl9-gEDOPLNTPPBJniTWp8KWzHIXQ-dI83KN435ykZs9r-QsEmX6fBoeWCewTMqw5dWzU_1syNtY6nCRoFIWr19wHWmcS16npXPfE3owfXV3HO_fzC0Wez_V8BgITlo3WuQP0HsR26aC8yQIptAn9B56/s2048/1000001869_Glitch2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1352" data-original-width="2048" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1oVLa_6ScWPu0eeOsmqkx9lrF8jTkV_ngkJQqwl9-gEDOPLNTPPBJniTWp8KWzHIXQ-dI83KN435ykZs9r-QsEmX6fBoeWCewTMqw5dWzU_1syNtY6nCRoFIWr19wHWmcS16npXPfE3owfXV3HO_fzC0Wez_V8BgITlo3WuQP0HsR26aC8yQIptAn9B56/w200-h132/1000001869_Glitch2.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Art<br /></td></tr></tbody></table><p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"></span><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Again, opportunities to party after were there but the excitement
of the day and being middle aged AF over here had us all calling discretion the
better part of valour and calling it for the night.<br />
<br />
The Sunday again has us over at the other-other stage after seeing Tara off I the
early afternoon for the Pub Quiz, which we stupidly didn’t think to register
for early and had to miss. All good though as that meant more time to see
around Digbeth for us, John exploring the culinary pleasures of the area and me
getting to actually have a crack at the arcade bar and check out some more of
the art. </span></p><div class="separator" style="clear: both; text-align: center;"></div><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"></span><p></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Seems like it was a good weekend for exploration in Birmingham.
There was a big open air complex next door, the courtyard and stage of which
could be seen from the smoking area, had a Reggae festival on that day. I
jokingly suggested to one of the security staff that they could turn the speaker
in that part of the terrace off to let anyone who had a mind to watch. That
suggestion was laughed off politely with a little finger wagging, I was being
serious tbh.<br />
<br />
First act was <a href="https://www.jessicamoss.net/ " rel="nofollow" target="_blank">Jessica Moss</a>, playing a solo with Violin and Loop pedal / vocal
looping effects. Very different, very cool, first time seeing something like
that myself since Sonorities last year. <br />
<br />
After that I got to see a but of the Supersonic Mass, a quasi-religious
ceremony lead by an MC with a bannered parade from the Mill to the 7SVN, with a
large one with the names of every act to play the festival in the last 20 years
at the head and a ritualistic recitation thereof. </span><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8KQzTlSIUp5-pyEmmw3wiI92LeCsz6NcKIK5PdhfJw9K9fhLZtgUhwJ83JIV2l4ZzF4pN81iHHwj4IwS0bwxvx0zA_JtbMTnljbP-S2amqJDYQSzmfDvjOC8DDWB9gmIYM8RuzIpdLaJPDQ3lY62NUBE7HHs4TjyNznEE0GGEq6qly0uTMAyZmJtSqY14/s4080/IMG_20230903_165103931.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4080" data-original-width="3072" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8KQzTlSIUp5-pyEmmw3wiI92LeCsz6NcKIK5PdhfJw9K9fhLZtgUhwJ83JIV2l4ZzF4pN81iHHwj4IwS0bwxvx0zA_JtbMTnljbP-S2amqJDYQSzmfDvjOC8DDWB9gmIYM8RuzIpdLaJPDQ3lY62NUBE7HHs4TjyNznEE0GGEq6qly0uTMAyZmJtSqY14/s320/IMG_20230903_165103931.jpg" width="241" /></a>That was followed by British folk artists <a href="https://shoveldancecollective.bandcamp.com/ " rel="nofollow" target="_blank">Shovel Dance Collective</a>,
<a href="https://www.silvermoth.co.uk/home " rel="nofollow" target="_blank">Silvermoth</a>, Mark Wagner bringing some ritualistic doom and a quick trip back to
the gaff to food-up. Me and John had no big plans for the day up to seeing
Lankum later on so just hopped room to room exploring. Yeah and remember what I
said earlier about the Reggae festival next door, we got lured into the terrace
with some sick beats courtesy of the Tropical Wreck collective and guess what,
speaker at far corner disconnected and mostly bar and security staff and one or
two punters, shortly to include ourselves, vibing to the ragga dancehall across
the road </span><span face=""Segoe UI Emoji",sans-serif" style="mso-bidi-font-family: "Segoe UI Emoji";">😊</span><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> ‘I toul yiz, didn’ I?</span><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span></p><div class="separator" style="clear: both; text-align: center;"></div><p></p><p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">After that bit of excitement back down to see Jessica Moss, the violinist from
earlier in the main room this time with <a href="http://www.bigbrave.ca/" rel="nofollow" target="_blank">Big Brave</a> playing a very different but
equally impressive set.</span></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Moving didn’t bear thinking about because shortly it would be time
for Sunday headliners, Irish trad artists Lankum. For those who don’t know, and
shame on you if you are in that cohort, Lankum were previously a two piece, “Lynched”
after the surname of the brothers Darragh and Ian Lynch who were well known in
the underground metal scene in Ireland for being the two lads who liked to play
random trad songs while partying after shows. Now after a name change
considering the possibility of taking off in places where their band name has
certain connotations that they’d rather not be associated with, and being
joined by multi instrumentalists Cormac MacDiarmada and Radie Peat, the latter
of who adds her own incredibly raw and beautiful Sean Nós vocalisation to the
mix, are now Lankum. They have been tearing up the local festival and gig circuit
at and near home, and now 3 masterful albums deep into the project are getting
genuine international notoriety. I have seen them live before and they’re never
anything short of special but in this context being both in England and yet in
a place long a centre for Irish immigration, so also basically on home turf it
was just mind-blowing. There’s something about what they do that touches
something incredibly primal like in general but especially if you’re Irish,
with noise-y droned out versions of old standards, eg, The Wild Rover – the absolute
pinnacle of a cheesy over played trad tune that everyone and their granda knows
like the back of their hand through sheer cultural osmosis yet still given such
a squalid and real life by them as to sound brand new and fit neatly alongside
their own contemporary murder-suicide ballads about the metal health crisis in
modern Ireland and living on the breadline in post-crash Dublin. Myself and my
mate both had actual hairs on the back of our necks fully up and tears of
national pride and many more complex emotions in our eyes all through it.<br />
<br />
Now we’d have thought that after that we’d be too emotionally drained to get
another real transcendent moment of musical appreciation out of the last couple
of hours of the night, and yet… being tired though not quite done yet we made a
bate to the Mill for the last time, to grab my coat from the cloak room and
stick our heads around the door if only to check out the last artists on the
second stage. ‘Tis as well we did for that turned out to be an absolutely blinding
alt hip hop crew <a href="https://algierstheband.com/ " rel="nofollow" target="_blank">Algiers</a>. This was a two piece with the beats having a particularly
80s vintage retro-synthwave tip to them and and MC with a really interesting
range including blues-y sing-rapping, Saul Williams-esque lyricism and politically
conscious bars. Some of it really banged too, like proper rave breaks.</span></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Re-invigorated we did get down for <a href="https://www.instagram.com/avalanchekaito/" rel="nofollow" target="_blank">Avalanche Kaito</a>, lively mathy
Afro rock, Zappa-esque compositional weirdness, traditional West-African instrumentation,
Griot vocals and a bit of call-response. We were lucky enough to bump into some
of the incredibly cool folks we’d got chatting to on the Friday on the
dancefloor too and it was a great end to the night and the event.</span></p>
<p class="MsoNormal"><span face=""Calibri Light",sans-serif" style="mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Overall, as I hope I’ve been able to convey here, I had the
absolute time of it. For reasons I’ll not get into, this has been a tough year
all round, the general shittyness of the weather over the summer since the
start of July being only the least among many things to complain of. So this
was a well deserved bit of release and a chance to engage with communities and
spaces that are important to me and are part of what helps feed the soul. Glad
I got there at last and I hope that this small offering of my efforts can help
feed back into it a little. I’d love to get back maybe as a regular part of my
yearly cycle of things but time will tell how able I am for that in the future.<br />
<br />
I will also note that this weekend was also when the first part of the new Adventure
Time spin off dropped and I had been looking forwards to getting into that when
I got back, which I did and was all I could have hoped a continuation of one of
my absolute favourite things ever with the complexity tuned up just a little
and now aimed at a more self consciously adult audience who’d grew up with the
series over the last decade could ever be. So I’ve had my mind-hole well fed to
the point of being stuffed and satisfied and feel a bit more ready for whatever
this increasingly shaky and unpredictable future we all find ourselves in may
hold. You can’t ask more from a long weekend than that really, can you?</span></p>
<p><br /> </p>Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-533281542488272232023-08-21T10:05:00.009-07:002023-08-21T10:45:14.043-07:00ArcTanGent 2023<p> Ok, so to not bury the lead journo-style: main thing is ArcTanGent was great and I can indeed still hack a 3 day Camping festival. This is my first since Life 2014, I have broken both legs and swore off them since then, but when I saw the <span style="color: #01ffff;"><a href="https://arctangent.co.uk/line-up/" rel="nofollow" target="_blank"><span>lineup</span></a></span> for this I knew I had to make the effort to get over. So I did.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK9psc1limyGvCoYnwvExeGw8AG9OzspSps9YImo3--knVYj2DebC-GL1ja0TAYm6kV9eh8k4AQL-bEDXHt3niKmTQFfzAN-SZUsyQAinqz0Wq6nlgubK39dXJppIowemcMqBPwnjk7mFjnq6GH0PyQdOMCCtggYHNu8LkZKL61oVoq33WWWgBtZFRfmYi/s2048/20230820_202240.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1897" data-original-width="2048" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK9psc1limyGvCoYnwvExeGw8AG9OzspSps9YImo3--knVYj2DebC-GL1ja0TAYm6kV9eh8k4AQL-bEDXHt3niKmTQFfzAN-SZUsyQAinqz0Wq6nlgubK39dXJppIowemcMqBPwnjk7mFjnq6GH0PyQdOMCCtggYHNu8LkZKL61oVoq33WWWgBtZFRfmYi/s320/20230820_202240.jpg" width="320" /></a></div><br /><br /><br />First thing I'll say that as festivals go, I thought it was fantastically well done. The production, curation, provision of site services and essentials, cleanslyness and usefulness of the bathroom facilties, the pre pitched tent I sprung for, and just the general vibe and atmosphere were all great. I was impressed with the dedication to being enviromentally conscious, it was weird buying tinned water (particularly since the design on the stuff at the bar was very Repo Man esque) but it was good that the place wasn't covered in plastic. <br /><br />Also for a Metal festival, generally lefty AF, aside apparently a few boneheads who turned up for Heilung who I personally didn't see but heard about from a few people. Hielung themselves are conscsious by the nature of what they do inevitably attract a bit of that sort of thing but have distanced themselves from it publicly to the extent that they can. Other than that, I saw plenty of antifa patches on peoples stuff, lots of leftist, feminist, queer and trans artists and just people about the place in general. <p></p><p>Pure family vibe too. Like there wasn't a play pen or stuff specifically for kids, but there was a good few babies and actual childer knocking about. Not many but enough that it all felt wierdly wholesome. I saw some folk with their kids (always with ear protectors) up on their shoulders at the main stage. Parenting goals tbf.<br /><br />I found the way they ran the thing interesting. Everything started really early, first bands on 11ish, and everything runs up to 11pm, after which there is a "Silent Disco" where everyone who wants to can go to a stage and listen to DJ sets being played through headphones. Presumably this is to get around local sound rules and regs that dogged Boomtown the last couple of years I was there. Not the worst way to placate the NIMBYs if that's what you need to do, beats turning the sound down on the main stages after 11pm.<br /><br />The stages were all pretty close together, had they all been on full time they'd have noise polluted each other out, but with this being basically all bands and stuff that required a set up they staggered the set times so at any given time one stage was on they'd be prepping for the next act on the other stage. I'm guess that's probably relatively normal for that type of festival but I'd personally not seen it before so yeah. Cool. Also made it easy to have a wee snoop about the different stages if you'd a mind to.</p><p><br />What I got up to: Thursday, flight got delayed getting from Belfast to Bristol and the coach into town took a bit longer than I had thought from the (admittedly somewhat rushed) research I had done into the transpot situ so I ended up getting charged dear for some of the camping equiptment I had to get from the last camp shop open in Brizzle by the time I got there (which means I need to do a few more of these things to get the use out of them, oh well....) and I didn't get to do some of the shopping I had planned which meant I had to rely on the then unknown quantity of making do with whatever I could get onsite. It also meant that by the time I got up to the site and got my shit together I had missed practically everything on the first day. No <span style="color: #01ffff;"><a href="https://www.pigsx7.com/" rel="nofollow" target="_blank"><span>Pigs Pigs Pigs Pigs Pigs Pigs Pigs</span></a></span> for me unfortunately. If I'm back I reckon I'll need to look into arranging things a bit better with that in mind. It wasn't a complete washout, I did get to see a good bit of <span style="color: #01ffff;"><a href="https://www.convergecult.com/" rel="nofollow" target="_blank">Converge</a> </span>who were headlining the mainstage and most of my first big discovery of the weekend <span style="color: #01ffff;"><a href="https://linktr.ee/straightgirluk" rel="nofollow" target="_blank"><span>Straight Girl</span></a></span> who had played the wednesday and was covering for someone who had pulled out, apparently due to getting stuck on the UK border. I had literally just nipped out of Converge to have a quick snoop at the other stages to see what they were like, not intending to really be away for too long when I heard bass, breaks and beats coming from up the hill. Unreal, and short, enough that I caught the latter half of Converge. After that I was wrecked after all the running around so I booked and got my head down. </p><p>Friday I had a pleasant morning catching up with the neighbors (a girl from here and her mate from down South, nice!). Made frieds with a bunch of sound lads from Cardiff, who I'll refer to as 'Jeff's Mates'. I got to see most or all of <span style="color: red;"><a href="https://joliette.bandcamp.com/music">Joliette</a>, </span><a href="https://linktr.ee/ashenspire" rel="nofollow" target="_blank">Ashenspire</a> and <span style="color: #01ffff;"><a href="https://linktr.ee/cltdrp" rel="nofollow" target="_blank"><span>CLT DRP</span></a></span> and really liked them. I saw <a href="https://linktr.ee/ASIWYFA" rel="nofollow" target="_blank">And So I Watch You From Afar</a>, actually for the first time live, now feel like a bit of a nob for not having done so before. I saw <a href="https://www.instagram.com/petbricknoise/" rel="nofollow" target="_blank">Pet Brick</a> again who I'd had the absolute best time watching at Bangface and gave it absolute stacks, probably the most lively I was all weekend. I didn't get drawn into the mosh pit but I was sorely tempted. Big highlights from the friday tho, not unexpectedly as they were along with Igorrr the big draws for me of the whole thing; <a href="https://www.instagram.com/swans_official/" rel="nofollow" target="_blank">Swans</a> and Hielung. Swans was just darkness,vibe and intensity. I got complete full-body frission. It was great. Hielung was just on another level. For those that don't know, they basically do a sort of reimagining of Norse/German pagan shamanic rituals using costumes, instruments etc based on the type of things they have in the historical record or found in Iron Age burial sites from Northern Europe and a good bit beyond (but that's not important and they're not going for full dilligent authenticity). The stage craft is really elaborate too. Off all the stuff I saw, they'd be the only thing that if someone put them on in the Waterfront or something I'd take my parents to see them.</p><p>That was the day of the really horrible weather (in the middle of f'ing August, this is what global warming is for the UK btw) and it blew me right into my tent past any feeling towards sociability on my part. And I was just knackered tbh. </p><p>Saturday, having actually just had a really good rest I was intent on making the best of the last day. I caught <a href="https://www.instagram.com/aburialatseaband/" rel="nofollow" target="_blank">A Burial At Sea</a>, mathrock group <a href="https://www.instagram.com/land_wars/" rel="nofollow" target="_blank">Land Wars</a> (Davitt / Parnell reference? one of the guys is from Cavan so maybe). After that I caught some nice queer, gothy-gazey act called <a href="https://linktr.ee/cultdreams" rel="nofollow" target="_blank">Cultdreams</a> and bumped into my mate Big Mike at the end. He took me to see <a href="https://linktr.ee/GGGOLDDD" rel="nofollow" target="_blank">Gggolddd</a>, cracking dark, moody synth/trip-hop. We split and I had saw <a href="https://www.instagram.com/grubnap/" rel="nofollow" target="_blank">Grub Nap</a> for a bit of a change of pace, 2 lads from Leeds doing aggy Sludge-core. Great stuff. Simmilarly the <a href="https://solo.to/thecallousdaoboys" rel="nofollow" target="_blank">Callous Daoboys</a> were a lot of fun and really heavy, <a href="https://rolotomassiband.com/" rel="nofollow" target="_blank">Rolo Tomasi</a>, <a href="https://www.youwillloveeachother.com/health-transfer/" rel="nofollow" target="_blank">Health</a> and <a href="https://www.loatheasone.co.uk/" rel="nofollow" target="_blank">Loathe</a> were all awesome in different ways and for different reasons. <a href="https://www.deafheaven.com/" rel="nofollow" target="_blank">Deafhaven</a> were great, aside from the technical difficulties which I didn't mind so much but I could see people who are more emotionally invested in them getting upset over, especially since they were doing their iconic <a href="https://www.youtube.com/watch?v=GfbLWHT7vUU" rel="nofollow" target="_blank">Sunbather</a> album beginning to end.</p><p>Absolute stand out of the day though, again predictably, was <a href="https://www.instagram.com/igorrr_music/" rel="nofollow" target="_blank">Igorrr</a>. I love Igorrr, have been into them since back when he was releasing on NI's own <span style="color: #01ffff;"><a href="https://acroplanerecordings.bandcamp.com/" rel="nofollow" target="_blank">Acroplane</a></span> and <a href="https://adnoiseam.bandcamp.com/" rel="nofollow" target="_blank">Ad Noiseum</a>. Saw him play a set at Bangface 2016. Seeing him blow up on the metal circuit and bring in more live elements to the shows since then has been an absolute pleasure. This time he had the full band, him on his hardware, his live drummer, guitarist and an opera singer providing vocals going through mostly stuff off the last two albums. he opened with a wee bit of breakcore and finished off again just by himself banging out the glitches, bass and drum breaks. </p><p>I ended up only seeing a wee bit of Devin Townsend, actually bumped into a guy I met in his own house last week after Kneecap, ended up hanging with him, his brother and their mate who I'd been talking to earlier at the start of Igorrr, then finished the weekend hanging with Jeff's mates, and other people who came around, including two lads from Lambeg, one of who recognised me from activist stuff back in the day and grew up in the street opposite my house, and his mate who was at Lagan literally just as I left. This country is a village.</p><p>Silly crack was had. It was a good end to a good day and the festival in general. I had a great time, could see myself coming back if they pull out another lineup like this years that just has a lot of stuff on it I really like. Or that could prove to be a fluke, we'll see. Would be good to get a crowd up for it if I do go back.</p>Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-74133823647235080472022-11-01T16:17:00.009-07:002022-11-01T16:41:37.384-07:00Halloween 31 Movies 31 Days challenge 2022<div class="separator"><div class="separator" style="clear: both; text-align: center;"><a href="https://www.reddit.com/r/YourTakeIsExcrement/" rel="nofollow" target="_blank"><span style="color: #cccccc;"><span>Reposted for posterity from the Your Take Is Excrement sub-Reddit</span></span></a></div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="280" data-original-width="473" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisNtb4u1k9naPyyeN6Rt6J8VGpiyejFuyKXlGcTt_2WMqLaIBMHJMKyYHv_7mD_gmn2IZDe1CtM_yLtvfX0V1MvYWqnDS-Ce5WE5FvLVUIKljdwHFvnf7IigBfJtaQEKRROU0yvbeU_gv0_z8TaIlndtyEbiAKpKO5jHzENU9HPDnu0r5wYwxQx24FHA/w400-h236/spooktober.JPG" width="400" /></div><p style="margin-left: 1em; margin-right: 1em;"><br /></p><p style="margin-left: 1em; margin-right: 1em;">Doing this now for the third year in a row, should be wee buns since I'm currently "between employment" so have the free time to do this. Thought it might be fun to post here about it and update the list through the month as I go. Anyone else feel free to join in.<br /><br />No real rules, just 1 movie per day on average of Horror, Spooky or adjacent media.<br /><br />1. The Transfiguration - Mubi. Like the film Martin but also a hood movie? Fine for what it is, not enough bite for my tastes tho.<br />2. Mad God - Shudder. A 90s alt-metal video, all bleakness and stop motion grim looking wet puppets, but feature length.<br />3. We're all Going The The World's Fair - Shudder. I hear our May is in this, will be looking out for you a chara (and not just so I can do a "Di Caprio Pointing at Screen in OUATIH"-meme face). - just watched it now and she was indeed, all to brief of a cameo but good to see. This was great, maybe not for everyone but I really liked it.<br />4. The Gate - Physical. 80s childrens horror. When I started watching it I thought I hadn't seen before but bits of it rang a bell with me. I think I must have saw it as an actual child myself. This was amazing. Good one to watch with children if you're babysitting over halloween or you want something to scare younger relatives with that's not too fucked up (or just watch The Fly, as one of my mates Grannies did with her when she was 8).<br />5. The Snake Girl and the Silver-Haired Witch - Shudder. Another children's horror film, but its Japanese so its pretty messed up anyway!<br />6. Hausu - BFI Player. Rewatch. Yeah if you know of this film its as bat-shit as you've heard. Had forgotten how much of a weird unspoken sexual undercurrent there was to everything. If you've never seen it, I would heartily reccomend, its just good.<br />7. Bug - Physical. William Friedkindoing a slow burn psychological horror about a very different type of possession. This kind of defies genre, if you liked Killer Joe this shares a lot of simmilarities.<br />8. Hellbenders - Shudder. Weird little indie horror made by a family who seem to do everything in house with just a couple of outside collaborators. It's good, I liked it a lot.<br />9. Vampire's Kiss - Prime. 80s Nicholas Cage MF'ers!<br />10. Uncle Sam - Shudder. Wow, the anti-militarism subtext in this isn't remotely subtle, and I love it!<br />11. Leprechaun - Prime. It has been brought to my attention that there are loads of these and most of them are available on streaming for free. Am I enough of a masochist to actually watch all of them? How bad do thse things get and how much will they grate on my sensibilities as a some time Irish folklorist? Will I need to get the 'Ra on somebody by the time I'm finished or wha? There's only one way to find out.<br />12. Leprechaun 2: LA Leprechaun - Prime. Excrement mostly. Some great moments though and it did make me laugh a bit more than the first one.<br />13. Leprechaun 3: Las Vegas Go Bragh! - Prime. The worst one yet. They change writer and director each time so far and the lore and rules of what a Leprachaun is / does varys and has to be restablished film to film. The last one they seem to have at least consulted a reference book as to what the original fairy lore was but that's all gone out the window. The tone is remarkably consistent though which I feel we can put down almost exclusively to Warwick Davis's performance. This one sucked because its attempts at humour fumble hard, there were a few clever and genuinely humourous touches in the last couple that made them at least entertaining are just gone. The potentially funny but where they rip off a scene from Faust (weird dark superhero thing from Yuzna, would love to see that get a big DCEU/MCU expensive CGI adaption) would have been better if they'd gone all in, they pussy out of other stuff but that's the most egregious. Most people stop at this point but I can see why, but the next one he's in space, then the next two are in "da Hood", and those are the one's I'm here for.<br />14. Leprechaun 4: In Space - Prime. Getting well into the "so bad they're good" region, this is as ridiculous as the title would suggest. Dodgy PS1-cut scene CGI, nonsensicle script, again changing the lore, but again held together barely by Warwick Davis haming the absolute balls out of it and the film leaning into its own silliness.<br />15. Taking a break from the Leprechaun franchise to watch the new Hellraiser - Hulu. I liked it. The first films were about ilicit sex, this was very much using the lore of the franchise to talk about addiction. I liked how the main baddie amongst the humans was a Jeffery Epstein character, like lets face it Epstein Island definitely had a room with a bunch of those puzzel boxes in it.<br />16. Leprechaun 5: In Da Hood - Prime. Jesus Ice, money's money but fucking hell like. He's about the only good thing in it and all his scenes really pop, the rest of it? That finale? Like I'm no one to judge if its too daft to be actually transphobic or if its just really really transphobic but its definitely, something... I'm kind of sorry I started this now.<br />17. Malevolent - Netflix. I needed to give myself a break from Leprechaun, life's too short. This has been on my Netflix list for a while. I thought it was good, funny to see Imelda Staunton playing against Florence Pugh before she blew up. Nicely creepy where it needed to be. Solid.<br /></p><p style="margin-left: 1em; margin-right: 1em;"></p><p style="margin-left: 1em; margin-right: 1em;"></p><p style="margin-left: 1em; margin-right: 1em;"><span> </span><span> </span><span> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2xOSOdp_KWNWY44wi0GgogQnP1TVBBfc7LsMW6_q_uWucEd2eLvCJbw_P9SMh1KrkiUDdeLLZXZifbcz_ihnx8QQTOpchDXvHZEsQomoK3N9b2af_I6Dh0sbgErSxxINrov6iMEaSjsRstN0uhSuTw8DfrZ5VQUqwvhR5Dz9eVSxY4Q6WsNFbJ9mIQw/s444/spooktober02.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="282" data-original-width="444" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2xOSOdp_KWNWY44wi0GgogQnP1TVBBfc7LsMW6_q_uWucEd2eLvCJbw_P9SMh1KrkiUDdeLLZXZifbcz_ihnx8QQTOpchDXvHZEsQomoK3N9b2af_I6Dh0sbgErSxxINrov6iMEaSjsRstN0uhSuTw8DfrZ5VQUqwvhR5Dz9eVSxY4Q6WsNFbJ9mIQw/w400-h254/spooktober02.JPG" width="400" /></a><br />At this point I watched Shock Treatment for the first time, the Rocky Horror Picture Show sequel. It was good, the girl from Phantom of The Paradise who plays Janet in it in particular. but it is not in any way Horror / Spooky so I'm not counting it.<br /></p><p style="margin-left: 1em; margin-right: 1em;"><br />18. The Sadness - Shudder. That one went hard.<br />19. Saloum - Shudder. Oh thanks be to god, glob and baby jesus, Leprechaun Back 2 Tha Hood is not on streaming and this can finally end now. When I do this I usually like to hit each continent at least once, Europe and Asia generally being very over represented. This is a recent one from Africa, its on Shudder and its good. Set up better than the pay off / horror stuff, though the monsters were good and the SFX used to put them together was unique. Could have been a bit scarier but it wasn't bad.<br />20. Livid - Physical. Creepy gothic fairytale horror, from the people that did À l'intérieur, though it isn'y nearly as gross or squicky as that one.<br />21. Slugs - Shudder. I am low level phobic of squiggly things, worms, slugs, snails, leeches etc, since childhood. A couple of halloweens ago I went on a quest to fins something that could still effect my jaded sensibilities, watched August Underground and a bunch of New French Extremity I hadn't seen before, watched some good and interesting stuff but aside from August Underground trilogy I didn't see much that really got to me. This film is squicking me out hard, this might be the grossest thing for my set of triggers I've seen since then. Well done.<br />22. The Similars - Physical. Latin America this time, a particularly Mexi take on a classic Twilight Zone episode. Leans right hard into its own sillyness. Good but more fun than disturbing.<br />23. Burnt Offerings - Prime. Interesting take on the old dark house yarn. My primary interest in this was that it starred Oliver Reed and had Bette Davis and Burgess Meredith in supporting roles. They were all pretty good in it, but the film itself was hokey and predictable.<br />24. Barbarian - Cinema. Have been told this is one of the best horror films of the year and by golly it did not dissapoint. Based social commentary, but a light touch with all that stuff. Good seat-of-your pants thrills too. 2022 has indeed been as good a year for horror as one could expect considering the state of the world. Just seen that the director was one of The Whitest Kids You Know, cool. Bit of a departure but it tracks. Fingers crossed for Sex Robot the movie.<br />25. Night Of The Demons - Shudder. Its like the platonic ideal of a halloween horror film. Very silly but quite a lot of fun. Great 80s Carpenter-but-EBM soundttrack.<br />26. Terrifier - physical. Shite. Good creepy clown and a very memorable kill before the half way point but that does not a good horror make. Feels quite mean-spirited and mysoginistic for a 2017 film.<br />27. Pearl - exclusive private showing. Amazing. Loved X, always liked Mia Goth but absolutely feeling the love now. One of the better things I've watched so far.<br />28. Wendell & Wild - Netflix. Absolute banger spoopy thing to watch with younger relatives or just in general because its awesome. Definitely in the same league as Nightmare Before Christmas and Coraline. Good film, boss soundtrack as well. Also, this is some of the most based stuff I've seen commited to film since the last Ken Loach. Zombie capitalsim, prison-industrial complex, corruption and collusion - there's a lot in there.<br />29. Suicide Club - Physical. One of the few formative J-Horrors millenium wave that I haven't actually seen. Probably fair enough that this isn't in the conversation as much as Ring, Pulse or The Grudge, oits not quite as ood as any of those, but it is interesting. It's the same type of horror, the horrors of new media, this time the source of the horror seems to be a meme, though at the time of production no one would have been using that word. Shame because that understanding might have brought focus to a film that's main flaw is losing focus in the third act. Worth a watch.<br />30. Braindead - physical. One of my favourite films ever, stone col classic, haven't seen it in ages. Holds up like it was cast from gold. The practical effects, especially the forced perspective shots with the Zombaby (getting practice in for Lord Of The Rings) are an absolute delight, as is the script and the visual gags with said baby and the greaser guy's innards which spontaneously achieve independent sentience. Would love Jackson to go back to his roots and do one more like this for the fans like me who've been with him since pre-hollywood, I doubt he will.<br />31. Well, last day last film, my Shudder sub is about to die so I probably should watch something off it before it goes. But, no... oh god, oh jesus Christ WTF is this blu-Ray that's just appeared in my living room next to the Playstation? Oh fuck me no....<br />31. Leprechaun, Back 2 Tha Hood - Physical. I don't want to but I am compelled. Its going in. It's playing. Oh Jesus, why are they retconning the Leprechaun's continuity. The fight with the preacher guy didn't happen in the last film? Why call it Back 2 Tha Hood if they aren't picking up from the end of the last one. This is horrible. The weed jokes are shit, like you'd really have to be very stoned to derive any enjoyment out of this. Warwick Davis looks so fucking tired I feel bad for him.<br />32. Leprechaun: Origins - fuck I dunno, it just started playing after the last one. No, Stahp.<br />33. Leprechaun Returns - .... Y U do dis....?<br />34. Leprechaun Vs Candyman... ... ...<br />35. Leprechaun - The Directors cut... Oh god. I can't stop it. The Leprechaun has taken over. This is my life now. Fucking Leprechaun movies on a loop. Forever and ever.......<br /></p></div>Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-55335682453964670592022-08-24T19:28:00.002-07:002022-08-25T13:55:37.692-07:00Black Metal Veins<div class="separator" style="clear: both; text-align: center;"><iframe class="BLOG_video_class" allowfullscreen="" youtube-src-id="rNwInvJEkUA" width="400" height="322" src="https://www.youtube.com/embed/rNwInvJEkUA"></iframe></div>
Lucifer Valentine, probably best known for *Slaughtered Vomit Dolls* made this documentary in the late 00s. It was supposed to be a chromicle of one of his fans lifestyle in the Virginia Black Metal scene but ended up being much more about him and his friends substance abuse. Personally I think the intention was to make a shocking gonzo exploitation / snuff film that used the realist elements to root the horror scenes and make them more impactful. It fails in those terms because the grisly stuff where (minor spoiler) some of the participants apparently die on camera are clearly faked, come off as a bit cheesey. What he does manage to do, somewhat paradoxically, is capture the reality and the despair of the front line of the class war in late capitalist America. These kids, this doomed generation are the product of the opiod crisis and this could well be watched along with a good documentary about the Sacklers and the opiod crisis in general. The fake OD looks like balls and is not scary but just hearing these people talk about their lives and seeing their mental and physical deterioration under the strain of the junky / crack head lifestyle is fucking terrifying.
Worth a watch, probably more so than any of Valentines other stuff. Worth getting the DVD with the directors commentary and extras.
<div class="separator" style="clear: both;"><a href="https://images.mubicdn.net/images/film/155139/cache-147934-1465518028/image-w1280.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="450" data-original-width="800" src="https://images.mubicdn.net/images/film/155139/cache-147934-1465518028/image-w1280.jpg"/></a></div>Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-70133675451124352102022-08-17T11:03:00.019-07:002022-10-09T22:30:48.893-07:00If they made The Crow today.....<div class="separator"><p style="margin-left: 1em; margin-right: 1em;"> <img alt="The Crow' and Other Movies and TV Shows With Deaths on Set - The New York Times" class="n3VNCb KAlRDb" data-noaft="1" height="263" src="https://static01.nyt.com/images/2021/10/22/lens/22xp-set-accidents1/22xp-set-accidents1-mobileMasterAt3x.jpg" style="height: 285.058px; margin: 0px; width: 433px;" width="400" /><br /><br />What bands and artists would you think would be on the soundtrack? That <a href="https://www.youtube.com/watch?v=Aj-9-3f0kr8&list=PLPesPmzv-3I21DeckpGbStpPnffgUopOM" target="_blank">OST for The Crow</a> is still just a great alternative music compilation album, some big acts and some slightly more obscure ones but all good repping different parts of what the scene was back in the mid 90s. But if they were doing one now, with the dearth if not the death of MTV and alt radio its hard to really say whats big or current in underground music, unless you're in a major urban centre with a healthy live scene (or like, usually when the apocalypse lurghy isn't haunting us around every corner). I myself have a few ideas of what I'd like to see which I will share but I'd like to hear from other people (assuming anyone actualy reads these things which doesn't appeear to be the case :)). <br /><br />What artists do you think would be a good representation of where the scene is at right now, or what alt music have you heard recently that you think would match any of the emotional beats of the comic(s) if you're familliar with the source material (O'Barr himself said the music he was listening to which fed into the vibe of the comic book as he was creating it was Iggy Pop, and all your classic 1st wave goth and alt rock groups, Joy Division, Bauhaus, The Cure)?<br /><br />The following is my personal recreation of what I personally think would / should be on there.<br /><br /></p><h3 style="text-align: left;">1. 3Teeth<br /></h3><p style="margin-left: 1em; margin-right: 1em;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lYIsZr9L_rM" width="320" youtube-src-id="lYIsZr9L_rM"></iframe><br /><br />Yeah? I mean in terms of bands that have come up in the last decade or so are really flying the flag for our thing and doing it well 3Teeth have been at the forefront of a revivial of the old WaxTraxx sound and returning a bit of cred to a scene mired down in cheese.</p><p style="margin-left: 1em; margin-right: 1em;"></p><p style="margin-left: 1em; margin-right: 1em;"></p><h3 style="text-align: left;">2. She Wants Revenge</h3><p style="margin-left: 1em; margin-right: 1em;"><br /><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ixw_bLVUL34" width="320" youtube-src-id="ixw_bLVUL34"></iframe><br /><br />This track has been used on AHS and is I think a recognised classic and their stuff is mostly pretty good (decent live too). Seems like a no-brainer. Probably the closest non-legacy band to the sounds that inspired O'Barr, mostly for the fact that they're just straight up doing the goth post-punk formula really well.</p><p style="margin-left: 1em; margin-right: 1em;"></p><h3 style="text-align: left;">3. Chelsea Wolfe</h3><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/49MYJkEazIg" width="320" youtube-src-id="49MYJkEazIg"></iframe></div><p style="margin-left: 1em; margin-right: 1em;">Just as the original had some slower more emotional moments and some transcendently pretty female vocal led tracks to bring the punch of those moments out, if we're looking at contemporary artists I think a bit of Chelsea would do rightly for capturing the more melancholy emotional beats of the story.<br /></p><h3 style="text-align: left;">4. Ghostemane<br /></h3><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/N3XbZvD3lRo" width="320" youtube-src-id="N3XbZvD3lRo"></iframe></div><br /><p style="margin-left: 1em; margin-right: 1em;"><br />I feel like this is an artist that should be on there as much because he represents something genuinely new thats happened to the scene and something very current because he's fucking sick and has a range of tracks already that could be inserted into that narrative.<br /></p><h3 style="text-align: left;">5. Adam X</h3><h3 style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Ssw9edM28iQ" width="320" youtube-src-id="Ssw9edM28iQ"></iframe></div> <br /></h3><p style="margin-left: 1em; margin-right: 1em;">Hearing some genuinely good contemporary techno during the nightclub scenes in The Batman when I went to see it last weekend is one of the things that had me on the train of thought that led to this post, like if there was something simmilar happening in The Crow, what would be appropriate? I was thinking some german EBM-Techno like this or some Ancient Methods, Vatican Shadow, Regis or something like that, or maybe something a bit harder like:<br /><br /></p><h3 style="text-align: left;">6. Paula Temple</h3><div class="separator" style="clear: both; text-align: center;"><br /><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Jto9SRC5wMU" title="YouTube video player" width="560"></iframe></div><br /><p style="margin-left: 1em; margin-right: 1em;"><br />which bangs a bit more, is more discordant, abstract and aggy in general.</p><p style="margin-left: 1em; margin-right: 1em;"></p><h3 style="text-align: left;">7. Bob Vylan<br /></h3><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vD4D4qd0XFs" width="320" youtube-src-id="vD4D4qd0XFs"></iframe></div><p style="margin-left: 1em; margin-right: 1em;"><br />Coming back around to more guitar led music, RATM had a track, as did the Henry Rollins band so you'd want some sort of punk represented and Bob Vylans grime inflected-punk, usually with very angry political messaging would seem like a good succesor<br /><br /></p><h3 style="text-align: left;">8. Turnstile</h3><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YtGRLKVzzdg" width="320" youtube-src-id="YtGRLKVzzdg"></iframe></div><br /><p style="margin-left: 1em; margin-right: 1em;"><br />These lads dropped one of the big scene albums of last year and they've done some really interesting electronic crossover stuff with Mall Grab so you could go that way instead? <br /><br /></p><h3 style="text-align: left;">9. Spirit Box</h3><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/cWE0sSZ9yLc" width="320" youtube-src-id="cWE0sSZ9yLc"></iframe></div><br /><p style="margin-left: 1em; margin-right: 1em;"><br />Feels like this group could be part of the conversation here as well, since they blew up pretty big very recently and represent a more contemporary sound in Metal that feels very now<br /><br /></p><h3 style="text-align: left;">10. IDLES </h3><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nyLlswYB_zY" width="320" youtube-src-id="nyLlswYB_zY"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="margin-left: 1em; margin-right: 1em;">Harking back one again to contemporary takes on the sounds of Post-Punk that inspired the comic. IDLES is one of the groups out now taking on and pushing that sound. </p><h3 style="margin-left: 1em; margin-right: 1em; text-align: left;">11. Rein<br /><br /></h3><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/aqBV7xGMHJM" title="YouTube video player" width="560"></iframe><div style="text-align: left;">Now, getting abck to the more traditionally Gothic. There's been an explosion of bands that have given this old genre a shot in the arm, <a href="https://www.youtube.com/watch?v=E1JplpqHkPw" target="_blank">Linea Aspera</a>, <a href="https://www.youtube.com/watch?v=-2-nBOvcOls" target="_blank">Boy Harsher</a>, <a href="https://www.youtube.com/watch?v=FrAuovH_xMM" target="_blank">Azar Swan</a>, <a href="https://www.youtube.com/watch?v=3-D4X8F9kEA" target="_blank">Drab Majesty</a>, <a href="https://www.youtube.com/watch?v=k0kg80jAtI8">Perturbator</a>, <a href="https://www.youtube.com/watch?v=uq_6cq4AEko" target="_blank">Riki</a> and so on, but this girl, who's concept album is very much a cyber-punk conceptually oddessy about life and coming back from death. Sounds like our girl if you ask me.<br /><br /><br /></div><h3 style="margin-left: 1em; margin-right: 1em; text-align: left;"><br />12. Petbrick</h3><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/eCG7UyDR3yE" width="320" youtube-src-id="eCG7UyDR3yE"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>Something that wouldn't have been on the original because it wasn't a thing at that point but could be now, I feel, would be the metal-fusion stuff in the far left field of the electronic music scene. Projects like Drumcorps, DJ SkullVomit and Igorrr have been leading the way but of all that sound the best thing I've come across recently was Petbrick, a side project of the drummer from Sepultura Iggor Caldera and Wayne Adams who's been doing simmilar music for years. This is good aggy fight scene music, perfect for a stand off with a major villain.</div><div class="separator"> </div><div class="separator"><h3 style="text-align: left;">13. Roly Porter (for the score)</h3> </div><div class="separator"></div><div class="separator"><br /></div><div class="separator"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/n7YG0ZaVpfU" width="320" youtube-src-id="n7YG0ZaVpfU"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: left;">The original fampusly also had an excellent <a href="https://www.youtube.com/watch?v=ZHLLNNTUO_w&list=PLDB52D4E93625BDB1" target="_blank">score</a> even aside from the OST by <a href="https://en.wikipedia.org/wiki/Graeme_Revell" target="_blank">Graeme Revell</a> of the legendary pioneering Industrial Noise music group <a href="https://en.wikipedia.org/wiki/SPK_(band)">SPK</a>. Few there are who would be a worthy successor, though one could make a case for Merzbow or maybe Orphyx, personally I think Mr Porter here, formally of the dubstep bassweights <a href="https://www.youtube.com/watch?v=RElwhH7XUng" target="_blank">Vex'd</a> who I personally feel have been responsible for some of the absolute best and most industrial music of the last couple of decades and Roly's ambient works could do absolure wonders on the film score.<br /></div><br /><br /><h3 style="text-align: left;"><br />14. Ice Nine Kills</h3><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sPfYpOJ3shY" width="320" youtube-src-id="sPfYpOJ3shY"></iframe></div><p style="margin-left: 1em; margin-right: 1em;">And finally, this has all been pretty speculative so far, these guys already have one in the bag waiting to go. BTW the video starts with a bit of a skit and the actual track is about halfway through the video if you're watching the link. I dunno how much I like this band in general, feels a bit gimmicky because thats exactly what it is, but it also is kind of good, so....? eh. People do seem to like them though.</p><p style="margin-left: 1em; margin-right: 1em;">If we're talking about bringing anyone back, of the artists that were on there originally The Cure and Nine In Nails (or Trent paired back up with Atticus Ross) would be great. Trent would indeed be worthy and experienced candidate for just score duties. <br /><br />You know its going to happen one day, in fact the latest seems to be that its on its way out of development hell and looking like a real prospect for some time before the middle of the decade (not that we haven't heard that one before, but still). Lets hope at least one of the producers will get to read this (Lily, or Lana, girls, I know at least one of yous got a secret account here, c'mon lets make this happen!), or at least that as much care is taken with the OST and score and any other musical content with the new one as was with the original.<br /><br />If anyone reading this has suggstions, feel free to comment!<br /></p><p></p><br /></div><br /><br />Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-41892329682955465952022-08-14T20:47:00.001-07:002022-08-14T20:51:25.901-07:00Sadowicz and the culture war<p> <img alt="shutterstock_editorial_409535d.jpg" class="fs loaded" data-noupdate="true" data-src="{"default":"//img-s-msn-com.akamaized.net/tenant/amp/entityid/AA10EpHT.img?h=373&w=624&m=6&q=60&o=f&l=f&x=514&y=440"}" height="300" role="presentation" src="https://img-s-msn-com.akamaized.net/tenant/amp/entityid/AA10EpHT.img?h=768&w=1366&m=6&q=60&o=f&l=f&x=514&y=440" title="shutterstock_editorial_409535d.jpg - Julian Makey/Shutterstock" width="400" /></p><div class="ecm0bbzt e5nlhep0 a8c37x1j"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j fe6kdd0r mau55g9w c8b282yb keod5gw0 nxhoafnm aigsh9s9 d3f4x2em iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id" dir="auto" lang="en"><div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql"><div dir="auto" style="text-align: start;">Oh shit, the inevitable has happened and now Twitter knows who Jerry Sadowicz is. He's had his run at The Pleasance cut short after complaints over his content. J K Rowling and the Freeze Peach keyboard warriors have come out to bat for him. <br /><br />I've
seen Sadowicz's stand up since I was a kid and have seen him perform
recently too.
He's also a brilliant personal magician and card trickster, he wrote the text books that you by if
you want to learn stage magic. The shows are as he puts it "card tricks with 'patter'", the "patter" in question being the rawest, purposefully offensive un-PC, bunch-of-old-guys-on-a-building-site-level craíc, directed at his audience, other stand ups, anything else going on in the world at the moment and especially himself.<br /><br /><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j fe6kdd0r mau55g9w c8b282yb keod5gw0 nxhoafnm aigsh9s9 d3f4x2em iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id" dir="auto" lang="en"> I have seen him tell the most racist and sexist joke I
have ever heard in my entire life, an impressive feat for a 2-line gag. <br /><br /></span>I've seen him go up to a person in the front row at his gig in a wheel-chair and say "for my next trick I'm going to make this cunt get up and walk!" to their obvious amusement and delight<br /><br />Apparently what specifically got him
into trouble this time is calling Rishi Sunak a "Paki" and gettting his
dick out on stage. Both those things are pretty much par for the course
for one of his shows, he didn't do anything out of the ordinary and it
seems like the climate has just changed. <br /><br /></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle"><div dir="auto" style="text-align: start;">As
far as the whole "ironic racism" discourse and how this relates to it
goes; yeah I get how the apparent "ironic racism" of online internet
culture and sites like 4chan was de-subverted and just led to the
literal and unironic racism that heralded a resurgence of the far right
across the world. I get that this is a problem and should probably
inform how we look at "ironic racism" in a modern cultural context even
when it is sincerely ironic. <br /><br /></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle"><div dir="auto" style="text-align: start;">That
said, Sadowicz is not 4chan. He is very much a product of analogue tech
and old media. If you are buying a ticket to a Jerry Sadowicz show
(which is pretty much the only way you're going to experience his
performances these days) you really ought to bloody well know what
you're letting yourself in for. As he talks about himself, he's
purposefully cultuvated an audience who are capable of recieving his
material in the manner intended. His face should be your trigger
warning. <br /><br /></div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle"><div dir="auto" style="text-align: start;">Personally
I can't see this going too badly for Sadowicz. It sounds like the
Pleasance was bang in the wrong and have been making shit up about their
reasons for cancelling the second night (this wasn't a full Edinburgh
Fringe run this was 2 nights, one of which was cancelled). He'll be fine
and the lost revenue will be covered by earnings generated by the
subsequent publicity. I'm more concerned that dragging him into the
culture wars at this stage of his career is going to make him into some
icon of the alt-right, the shows aren't going to work or be as much fun
at all if the actual shitlords, incels and Dankula stans start showing
up at them and clearly being a bit too much into it. I think we'll just
have to see how it goes.</div></div></span></div>Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-89956471965903281892019-03-24T12:47:00.002-07:002019-03-30T15:10:14.766-07:00Jordan Peele's Us, discussion and analysis (spoilers, lots of them)<div class="separator" style="clear: both; text-align: center;">
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Please don't read this unless or until you've seen the film. If you're in two minds about whether to see it or not, go watch it. Its great.</h2>
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<a href="https://3.bp.blogspot.com/-4lH760xoO2A/XJfZJJK7qOI/AAAAAAAACng/itmB2SNoHCU3-B_cE2K3_Po2rK8nb1ymACLcBGAs/s1600/us%2Bposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="700" height="171" src="https://3.bp.blogspot.com/-4lH760xoO2A/XJfZJJK7qOI/AAAAAAAACng/itmB2SNoHCU3-B_cE2K3_Po2rK8nb1ymACLcBGAs/s400/us%2Bposter.jpg" width="400" /></a></div>
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Coming out of the film, which I'll say off the bat that I really enjoyed for the most part, I had a lot of questions. I don't have answers to many of them and I reckon a second pass at some point in the future may help but for now this is just a collection of thoughts rather than my concrete conclusions.<br />
<div>
<br /></div>
<div>
So, the biggest question I had was, what the fuck did I just watch?</div>
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<br /></div>
<div>
Well, the plot is pretty mental, but its not nonsensical either.<br />
<br />
From imdb: "A family's serenity turns to chaos when a group of doppelgängers begins to terrorize them." Thats basically it, a creepy twist on the home invasion scenario, then we get into the second act wherein it turns out that this isn't just happening to the family we're following, there's some weird apocalyptic shit going down. Everybody has a double, who in the film are called The Tethered, tonight is the night of the untethering and everyone's other self is out to get them. The family survives after a certain amount of high-jinx and having to kill their other selves, presumably to escape, but everyone else is fucked.</div>
<div>
<br /></div>
<div>
So that's it, that's the story.<br />
<br />
But what it this film about though? Jordan Peele has gone on record as saying that there isn't a single detail in the film that doesn't have some significance. This is no more a film merely about creepy dopplegangers that It Follows was merely about a demon or The Babadook was about a haunted childrens book. There's a lot here that demands to be unpacked.</div>
<div>
<br /></div>
<div>
He's also said that the film is about duality, and yes that is the core motif that holds the film together visually and thematically but that on its own doesn't say a whole lot.<br />
<br />
Well I don't know about the rest of you but coming out of the cinema I was mostly confused. I was expecting it to be about racism in a more direct fashion. From the premise I thought the obvious place to go, would be internalised racism, an actualisation of the conflict inherent to W.E.B. Du Bois's concept of "double consciousness" which he discusses at length in "The Souls of Black Folk" - i.e. the idea that for a person of colour one must adopt an almost schizophrenic concept of the self, both being oneself in the world while always being conscious of how you're perceived by the dominant white society. That is kind of in there but its not the main focus (unless I'm missing something, I'm not African American myself so there's a fair bit in probably not getting) as I had been expecting it to be.<br />
<br />
Since watching the film I've seen a few interviews with Peele and he's said categorically that that isn't what is about anyway. It seems to be partly inspired by his own personal fear of Doppelgängers. Which fair play, is a creepy concept and works well. But obviously it has been loaded with a lot of symbolism. There are a few lines in there that are clearly meant to be ominous. When asked "what are you" the Mother doppelganger says "We are Americans". Earlier in the little girl of the family says "oh yeah, that's right nobody cares about the end of the world". So there you have the notion of America literally tearing itself apart while the younger generations fears for the future go unheeded.<br />
<br />
When you get past the home invasion stuff and realise that this is going on everywhere that seems to play into the notion of social upheaval, revolution that classic gothic trope of The Return of the Repressed. When you find what The Tethered actually are, this horrible dehumanising thing that's also necessary to maintain the world that we know, one can't help but think of the exploitative relationship between the 1st and 3rd world, the fact that the most basic decent standard of living that the least of us enjoys is predicated on unspeakable horror that's always just beyond our field of vision.<br />
<br />
The whole thing as well of The Tethered in their own environment: human beings just mindlessly going through the motions without real choice or active thought, speaks to fears about the atomisation and alienation inherent to modern living too.<br />
<br />
I think there's another level where this is about trauma and mental illness. Adelaide seems to be suffering PTSD, The final reveal the final reveal seems to speak to the idea that real trauma takes away a part of who you once were. Through the set up she displays depressive, paranoiac and magical thinking. Reading profound significance into coincidence is again something that is not uncommon in people with mental health problems. That the whole home invasion kicks off just after her having that conversation with her partner is not insignificant.</div>
<div>
<br /></div>
<div>
Is there a connection here between the personal and political? I feel like the answer is yes but I'm not quite sure how.<br />
<br />
Now all of the elements above are in the mix but none of them are the focus of the film. So maybe that's fair enough. Get Out was very on the nose as to what it was about. This isn't but actually, its cool, it doesn't have to be. There's still a lot in there I don't get like what the significance of the Rabbits or the Scissors are. I look forward to hearing what anyone else has to say and unpicking the various threads that have been so deftly woven in there. And what's with all the Micheal Jackson stuff? Well, at least <a href="https://mashable.com/article/jordan-peele-michael-jackson-us-movie/#9en5lQrS.sq3" target="_blank">we have that from the horses mouth</a>.<br />
<br />
If anyone has any alternative takes or wants to expand on anything I've brought up I'd be really interested in hearing it.<br />
<br />
Edit:<br />
<br />
A couple of good analysis vids on the film up now on YouTube. I liked the <a href="https://www.youtube.com/watch?v=7BryT6WatTk" target="_blank">RedLetterMedia</a> one because the lads were pretty much spot on and my feelings about the film over all are quite similar both in terms of what I thought was good and was critical of. The ever reliable <a href="https://www.youtube.com/watch?v=SDMgFplACaQ" target="_blank">Wisecrack</a> did some excellent work teasing out some of the complexities inherent to the imagery. The overall take which was that as a film it is purposefully oblique and multifaceted enough to be meaningful in different ways to anyone watching it is spot on imo.</div>
Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-78275139405062605252019-03-09T13:13:00.002-08:002019-07-21T16:00:00.687-07:00Blindboy Boatclub, the Left and New Media Celebrity Culture in Ireland<br />
<div class="MsoNormal">
A long time ago I had intended to write an article about
Russell Brand for this blog. This would have been about 2013/14 between the
Jeremy Paxman interview and the 2015 General Election. We were at that stage
more than half a decade into the crisis and while things hadn’t quite descended
into the infernal quagmire we find ourselves in now they were certainly gearing
up. During that time Russell emerged as a voice of a type of politics that is
as old as power structures themselves, that has been around in something
approximating its current form since modernity began and has always been there,
though rarely articulated in the mainstream of political or social discourse.
Also, the specifics of they way in which it blew up and other people reacted to
it said something very interesting about the culture around politics and the
media in general at this juncture in our history. As ever and to my own personal annoyance, in spite
of the fact that I felt I had some unique insights to contribute to the
conversation I never got around to laying those thoughts down in a coherent
manner, which is inconveniencing me right now as there seems to be something
similar happening right now in Ireland with two other public figures and I
don’t have that previous work to refer back to.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So, failing that and without getting into the whole Russell
Brand thing at length I’ll now sum up the salient points of this essay that
never was, or as I see them the three features of what I’d call The Russell
Brand Moment:<br />
<br />
1) Revolutionary or even quite a lot of the time left-reformist politics are
ruthlessly no-platformed by the gatekeepers of the mainstream media out of the
general political discourse. On this occasion an individual circumvents the
gatekeepers by already having access to a platform due to their celebrity
status built in a long career elsewhere in the media as an entertainer.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
2) This was assisted by a use of social media platforms as a
way of bypassing said gatekeepers and reaching a wide audience in a way
impossible just a decade ago and unthinkable in any other generation.</div>
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<br /></div>
<div class="MsoNormal">
3) That said, there are limitations that we must understand,
no point getting over enthusiastic. The individual at the centre of this is
usually part of the movement and reasonably well informed, but about to the
level of the average cadre, which is understandable, they already have a
full-time occupation, i.e. whatever propelled them to their celebrity status in
the first place and may hold contradictory positions; they may slip up on
particular issues when called to voice opinions outside of their immediate span
of knowledge. Added to that their no more free of any unreconstructed societal
attitudes than the rest of us. It would be churlish of us to expect otherwise.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The 3rd point I had actually observed at the time and was
bourn out by the trajectory the whole Brand thing took over the course of 2015.
Essentially Brand fell at the first hurdle making the rookie error of seeing a
modest shift leftwards on the part of the Labour Party as a new dawn in <st1:country-region w:st="on"><st1:place w:st="on">UK</st1:place></st1:country-region> politics and
backing David Milliband in the 2015 general election. In doing so he shot what
credibility he had and retired temporarily from public life and the one man war
against the media and political establishment he’d been on since the Paxman
interview. <span style="mso-spacerun: yes;"> </span>He’s been back since but that
moment has tangibly passed. I’m sure he’s kicking himself now that the actual
labour left has made a breakthrough, but maybe we’ll look back and see the
Brand moment as a precursor to the ascension of Corbynism.</div>
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<br /></div>
<div class="MsoNormal">
So with that in mind I’d like to talk about what’s going on
with a public figure in Ireland; Blindboy Boatclub of The Rubberbandits.</div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-iWDrhOcea1E/XIQquCro00I/AAAAAAAACm4/1BjJ95R2WRItEUjQ8UKCjw8HceL_rEHQgCLcBGAs/s1600/bbrb1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="372" data-original-width="620" height="192" src="https://4.bp.blogspot.com/-iWDrhOcea1E/XIQquCro00I/AAAAAAAACm4/1BjJ95R2WRItEUjQ8UKCjw8HceL_rEHQgCLcBGAs/s320/bbrb1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Rubberbandits</td></tr>
</tbody></table>
<div class="MsoNormal">
The Rubberbandits are two friends who grew up together in <st1:place w:st="on">Limerick that</st1:place> go by the aliases of Blindboy Boatclub and Mr
Chrome. They were early stars of Irish social media, making their name
initially on Bebo and Myspace with a series of humorous prank phone calls. In
2007 they started making comedic hip hop and gigging a live show. In their
music videos and while performing they both always wear a plastic shopping bag
with eye and mouth holes cut out while their DJs dressed up as disgraced former
government minister Willie O’Dea. Their first video Horse Outside went viral
and took them from 'internet famous' to genuine notoriety. The humour of these
songs has a certain off-the-wall sillyness and broadness to it, but like some
of our best (O’Brien, Milligan etc.) it is belied by a fierce wit and
satirical eye, the targets of which have ranged from the hyper-sexual machismo
in hip-hop to ill informed armchair republicanism to hipsters.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By the beginning of this decade the Bandits were hot shit and
have only gone from strength to strength, scoring TV work for RTÉ, The BBC,
ITV, Channel 4. They had one of their songs featured in the new Trainspotting
film and have played gigs and festival appearances up and down the island and
internationally. Through all this they have managed a degree of relative
anonymity for two people in the entertainment industry who are household names
in a modern country. Their names are out there and can be accessed with a
cursory Google but there’s only a single picture of Chrome’s face sans-plastic
bag and none of Blindboy. Seriously, you can find a picture of <a href="https://www.thedailymash.co.uk/news/celebrity/jk-rowling-recorded-two-dubstep-albums-as-burial-2013071575752" target="_blank">what Burial looks like IRL</a> easier. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
More recently, Blindboy has authored and published a book of
short stories, The Gospel According to Blindboy in October 2017 and started doing
a <a href="https://play.acast.com/s/blindboy" target="_blank">podcast</a> which was initially to promote the book but has taken on a life of
its own, topping the iTunes podcast chart since its first episode continuing to
do so through to the time of writing.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Through that time Blindboy has used his media presence to
articulate the common sense perspective of his generation, using his platform
to talk about pertinent issues if the day, mostly looking at them through the
lense of mental health, sharing his own experiences to destigmatize something
that’s still heavily taboo in Ireland. An early intervention was in 2006 when
he spoke out against Bebo’s use of profile views, which he considered
psychologically unhealthy to the point where it might lead to someone taking
their own lives and called for the practice to be discontinued. This lead to
his page being shut down without discussion by Bebo in spite of their
popularity (the interview has now been reproduced in the feb 20th podcast <a href="https://play.acast.com/s/blindboy/godsposture" target="_blank">God's Posture</a> where he
speaks about it at length). The evils of social media and potential deleterious
effects on the psyche of the users and unconscionable business practices of the
various platforms is something that we’re now all familiar with and has been
discussed and analyzed to the point of cliché but in 2006 looking at that type
of media through psychological theory was quite novel. He understood social
media as only someone who grew up using it could.</div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-30cJYdfYtkY/XIQpJICOPeI/AAAAAAAACms/Keypjc3jeHcVI8aqKFLBjbLVVIr0XqYJgCLcBGAs/s1600/47099368_130996171244481_4514849765007689022_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1350" data-original-width="1080" height="400" src="https://3.bp.blogspot.com/-30cJYdfYtkY/XIQpJICOPeI/AAAAAAAACms/Keypjc3jeHcVI8aqKFLBjbLVVIr0XqYJgCLcBGAs/s400/47099368_130996171244481_4514849765007689022_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<div class="MsoNormal">
He’s also used this as a way into the wider issues effecting
Irish society, critiquing capitalism by looking at the socio-economic
conditions which drive metal illness and talking about the psychological
benefits for men of embracing feminism on the Late Late Show where he’s a
frequent guest and expanding on these themes at length in the podcast. More
recently he’s weighed in on the movement to repeal the 8th amendment. In a
recent podcast he interviewed the film and TV star Cillian Murphy, who rarely
gives interviews but had reached out to him to collaborate on some repeal
propaganda, specifically orientated towards young men who the usual political
discourse wouldn’t reach and might otherwise be apathetic on the issue. When
the referendum was won by a substantial margin what most activists in the field
have known for years was accepted, finally, by the establishment, i.e. that the
pro-choice position had (in Gramscian terms) transcended good sense to become
the common sense position. One can’t underestimate the role of pop-cultural
figures in expressing and solidifying cultural turns like this.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Getting back to what I’ve proffered as the three features of
the “Russell Brand moment”, the first two points seem to be fairly self evident
based on what’s been outlined so far. There are differences though, he’s not
been as confrontational or taken on the beast as directly as Brand had been
doing, even now much later it still astounds me that Brand with his YouTube
channel was in a running dialogue with the Murdock media empire and that he
could goad them into responding to him on the nightly Fox news shows. <br />
<br />
Also, Blindboy’s personal politics are quite different to Brand who consciously
and overtly identified with the revolutionary tradition and specifically
Anarchism (though a somewhat muddled and idiosyncratic one). Instead Blindboy
talks about his family history in the West Cork IRA in the 1920s though he
doesn’t identify with any contemporary Irish republican organisation. When he
gets down to it he’s decidedly left-reformist, stopping a good way short of
anti-capitalism though decidedly to the left of the Irish Labour Party. Which
seems fair enough to me as it would put him about where most Irish people, and
in particular those around the great social movements of recent history are at
the moment, i.e. conscious and even proud of the republican revolutionary
tradition, to the left of consensus politics on most issues and if not up for a
full overthrow of the state, are certainly disillusioned with it as-is and
yearning for change. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Which brings me to the question of how should organisations of the left ought to relate to
him? Is there a right way to respond to these figures that as they occur in the
culture, especially since with the continuing prevalence of social media and
the disintegration of the institutions that were traditionally the gatekeepers
of the cultural discourse this sort of thing is liable to happen in the future.<br />
<br />
Again, I’m sorry that I never managed the Russell Brand post because a lot that
happened on the left in the wake of the Newsnight interview and subsequently is
instructive. You had stuff like the “I Support Russell Brand’s Call for
Revolution” facebook page. I will be generous and assume this was the work of
one Brand fanboy who was an SP member rather than a party social-media
initiative, but it struck me as a bit band-wagon jumpy and opportunist.
Basically it was an SP member using the Brand moment to proselytise for his
specific fraction by creating the page to share Brand content and SP content,
often content specific to his local branch in <st1:city w:st="on"><st1:place w:st="on">Coventry</st1:place></st1:city>. Now I wouldn’t want to pick on the
guy unduly but I am singling him out as an example of people on the left
getting overly enthusiastic and just being narrowly focused on how to further
their sectional or even personal agenda without looking at the bigger picture,
which ought to be inclusive.<br />
<br />
Still, I prefer this approach to the churlishness and negativity that a lot of
leftists and activists responded to Brand with. For those unfamiliar I’ll refer
you to Mark Fisher, one of the few people on the left who at the time had what
I’d call the correct take on Brand:<br />
<br />
<blockquote class="tr_bq">
The next night, it was clear that Brand’s appearance (on newsnight) had
produced a moment of splitting. For some of us, Brand’s forensic take-down of
Paxman was intensely moving, miraculous; I couldn’t remember the last time a
person from a working class background had been given the space to so consummately
destroy a class ‘superior’ using intelligence and reason…. Brand had
outwitted Paxman...</blockquote>
<br />
<blockquote class="tr_bq">
The moralising left quickly ensured that the story was not
about Brand’s extraordinary breach of the bland conventions of mainstream media
‘debate’, nor about his claim that revolution was going to happen. (This
last claim could only be heard by the cloth-eared petit-bourgeois narcissistic
‘left’ as Brand saying that he wanted to lead the revolution –
something that they responded to with typical resentment: ‘I don’t need a
jumped-up celebrity to lead me‘.) For the moralisers, the
dominant story was to be about Brand’s personal conduct – specifically his
sexism.</blockquote>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Rather than be happy that our politics were suddenly being
articulated in the mainstream he was lit on for past personal indiscretions and
problematic material from his old stand up routines. Now I’m not going to
defend any of that, just saying that when something like that happens that this
was a lot of people’s first response does not speak well of them as individuals
or the movement they inhabit. It felt to me at the time that after decades of
defeat and retreat and so many years in the bunker that a lot of these
activists just didn’t know how to take it when something good happens. There
was also a tangible element of jealousy relating to the whole thing. These h8rs
were people who had spent years or decades in the trenches being patently
ignored by the media. Seeing someone from so far outside their club, who is a
bit of a clown, doing what they could and would have done if only they’d been
given the opportunity. I can only imagine how that smarted.<br />
<br />
And I’ll reiterate, its not like he’d done nothing, a lot of the criticism was
legit to some extent. Nobody should be afforded a pass for bad behaviour just
because they’ve done some good work. But, again getting back to Mark Fisher’s
peice:<br />
<br />
<blockquote class="tr_bq">
It is right that Brand, like any of us, should answer for his behaviour and
the language that he uses. But such questioning should take place in an
atmosphere of comradeship and solidarity, and probably not in public in the
first instance – although when Brand was questioned about sexism by Mehdi
Hasan, he displayed exactly the kind of good-humoured humility that was
entirely lacking in the stony faces of those who had judged him. “I don’t think
I’m sexist, But I remember my grandmother, the loveliest person I‘ve ever
known, but she was racist, but I don’t think she knew. I don’t know if I have
some cultural hangover, I know that I have a great love of proletariat linguistics,
like ‘darling’ and ‘bird’, so if women think I’m sexist they’re in a better
position to judge than I am, so I’ll work on that.”</blockquote>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So far though there seems little sign of anyone of any
significance on the left doing that to Blindboy. Partly this is because of how
he’s been handling himself. Also, I’d put that down to the political culture on
the Irish left as not being so hostile, unlike Britain four years ago we’ve not
had a series of defeats, disappointments, organisational schisms and wasted
opportunities to build a culture of begrudgery out of. Far from it. The
backlash might happen, some of the stuff from the Rubber Bandits is pretty off
the wall and if one were so inclined one could go back through his work looking
for stuff you could decontextualise and paint as problematic I dare say you
could nitpick enough out of it to make whatever point you wanted if you were so
inclined.<br />
<br /></div>
<div class="MsoNormal">
But then why would you?<br />
<br />
Which brings me in a roundabout way to what I propose as the right and sensible
thing to do in this instance and in general: constructive engagement. When the
political discourse gets opened up beyond the usual quarters of the activist
left we should be in there, not just to capitalise on it for our own benefit
but to engage with the people coming to it from that direction with our ideas
and the good sense we’ve acquired through decades of struggle and also to be
open to what we can learn from them.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One thing that I’d also propose is to acknowledge the
immense potential someone like Blindboy has in overcoming something that’s been
a bit of an issue on the left. Again because we’ve been on the defensive for so
long we’ve got to a point where we seem to spend a lot of time concentrating on
telling people what to not do. I think that having a vision of how things could
or should be is also important if we are to get anywhere. It’s particularly good to have this discourse directed towards
men. With the cultural revolutions and progress towards gender equality a lot
of the traditional role of men in society has come to be seen, quite rightly,
as oppressive. The traditional narrative of patriarchy has been torn down but
we should do more to provide something for men in its absence, if for no other
reason than if we don’t somebody else will. Jordan Peterson has made a bit of a
splash doing exactly this. That said, depending on your position in the
movement that might not be prudent or appropriate, so when Blindboy talks on
the podcast about physical exercise, mental exercise and how one relates to the
other, that is what he’s providing. In fact since the early drafts of this
piece when I wrote the last sentence he has basically said this on the podcast
in response to a listeners query about the Jeepster.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It also means to an extent acknowledging that while he does
have a part to play in the struggle he’s not an expert by any means in
organising or experienced in the practical side of the movement. So, when he
does drop the ball, as in his recent comments on the Trump protest or letting
his podcast guest Vincent Browne rabbit on in an ill-informed and inaccurate
manner about the organised left parties in Ireland (including mine), that we at
least have that in mind when we engage him back on these issues.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For now though, I’m just looking forwards to enjoying the
show. It is a part of a national conversation that people my age are having in
public that isn’t going on anywhere else and I’ll be happy to see it continue.
I am interested to see where he takes what he’s doing in the future.</div>
<br />Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-47450673633562118272019-01-05T16:41:00.001-08:002019-01-06T04:55:19.571-08:00My Top Films of 2018 (Kinda)<i><span style="font-size: large;">My pick of the top films I saw for the first time in 2018 (which may or may not have been released in that year) in no particular order:</span></i><br />
<br />
<i>(Also please note that I have purposefully not linked any trailers as there's a few of these that are best experienced going in cold.)</i><br />
<br />
<b>Wonder</b><br />
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It is not often that one sees episodes of ones own childhood rendered on the big screen in a full hollywood production and yet here we are. This was one of the first films I saw at the cinema last year and I don't think anything else really topped it, but then like the kid in the film I suffer from Treacher Collins Syndrome, I've never seen the condition in a film before so this film was basically made for me. I loved everything about this, not least that it had my home boy Daveed Diggs of the industrial hip hop crew <a href="https://vimeo.com/97166268" target="_blank">clipping </a>in it, of whom I've been a fan for quite some time and am enjoying watching him blow up at the minute. As someone with TCS I liked the messaging in this, particularly the scene late on where the kid who is sort of the antagonist is confronted and then you see why he is the way he is. I honestly think everybody should watch this film, the earlier the better, like they really should be showing it in schools.<br />
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<b>Spring</b><br />
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I'm not usually one for romantic films about young Americans abroad finding love amidst the beauty of a picturesque town in rural Europe, but this was one of the best written films of any genre I've seen in ages. It is legit a great romance film, a timeless meditation on life and love, men and women, sex and romance, the wisdom and charm of old world vs the optimism and cute naivety of the new, and also a boss monster film with charm, humour, subtle observation, real heart and some pretty solid SFX on what looks like quite a low budget. The lads that did this also did The Endless which is on Netflix at the moment, they are 3 for 3 in terms of making solid good films and I love their style and can't wait to see what they do from here on.<br />
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<b>Baskin</b><br />
<br />
I went on a bit of a horror binge after feeling somewhat let down by Hereditary, looking all the time for something genuinely unsettling. I watched a lot of stuff and some of it was good but never quite got what I was after. Then this came on TV one night and delivered in spades. Not a perfect film by any means (doesn't quite stick the mark at the end) but it was a wild ride and got right under my skin as I was watching it and even thinking about the scene: "No, really look and tell me who else is here.... You've seen it. You've always seen it, running in the woods with grandma...." gives me the shivers.<br />
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<b>Last Shift</b><br />
<br />
Brought to my attention in a <a href="https://www.youtube.com/watch?v=DR-Dry8Qb4A" target="_blank">conversation between RedLetterMedia and Max Landis</a>, I was very impressed with this. Proper fucking straight up horror that goes hard in all the ways a horror film should. Lots of nice gotcha moments, slow dread, some really creepy shit and unrelenting escalating intensity. Good stuff.<br />
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<b>World of Tomorrow Parts 1 & 2</b><br />
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Two short films from Doug Hertzfeldt, in his typical doodle-esque / line drawing style of animation, now with some beautiful moving colourful backgrounds. With dialogue provided by his 4 then 5 year old neice this weaves some truly dank existential sci-fi with the whimsy and innocent optimism of childhood. Both parts are truly masterful, deep, hilariously funny and profund. This was the highlight of the (generally well curated) Belfast Film Festival this year for me.<br />
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<b>The Shape of Water</b><br />
<br />
Okay, it won an oscar and shit but seeing this and Get Out win big at the academy awards and beat off obvious oscar-bait and pseudo-intellectual garbage was for me like seeing my local team bring home the European Championship cup or something. Get the fuck in there Guilermo my son! Personally I'm a sucker for a good monster romance and anything vaguely lefty so this hit a few of my buttons, great central performances all round and a good happy ending. Actually an interesting one to watch in contrast with Spring for various reasons, for both how they are and aren't alike yet are completely brilliant.<br />
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<b>Climax</b><br />
<br />
The New European Extremity is still alive and well, one of the most singularly satisfying films I've seen at the cinema this year. It did its bit and did not outstay its welcome, delivering something truly unique along the way. There are no other films like this in the world, and its nice to be able to say that.<br />
<br />
<b>A Mother Brings Her Son To Be Shot</b><br />
<br />
There have been some really excellent local documentaries that I would think are sufficiently good as films in their own right that I'd recommend them to anyone: <i>No Stone Unturned</i>, <i>I, Dolores</i>, <i>Unquiet Graves</i> and <i>Massacre At Ballymurphy</i>. No doubt we'll see many more in the near future. One could surmise that since the 30 year rule now extends to the early troubles and we are far enough away from the hot part of the ongoing conflict here (which hasn't gone away you know...) that the immediate physical danger to its protagonists means that certain things are now accessible and can be said in public that we're ripe for a golden age of documentaries and books that actually tell the truth about what happened here. That said the best (or for me at least the most entertaining) of the current crop is this one, which is about what is still going on in the shitty wee estates on the edges of our metropolitan sprawl, the people that live there and how they live with the local 'boys', the paramilitaries that are supposedly staunch defenders of their communities against Them 'Uns but are essentially just the same gangs and hoods that run 'tings on estates all over the western world, but in our unusual context. This was about a notorious incident in the Creggan on the edge of Derry and was tragic, shocking and very very funny in a way that is uniquely Northern Irish. Also a dire warning for the future that nobody else seems to be willing or able to deliver.<br />
<br />
<b>Best Worst Movie</b><br />
<br />
Documentary about the legendary Troll 2 and the weird fandom that's grown up around it and the general social phenomenon of getting together with your mates and watching bad movies for the crack. A thoroughly entertaining and well made documentary in its own right worth watching as part of a double bill with the film itself if you've got company and that sort of time to kill.<br />
<br />
<b>Annihilation</b><br />
<br />
Dumped unceremoniously on Netflix at the start of the year it kills me that this wasn't watchable on the big screen this side of the Atlantic. Boss special effects, lots of really dark creepy stuff and moments of beauty, in that grey area between art house and schlock that I love. This is everything Sci-fi should be on the big screen. Obvious visual and thematic nods to Tarkovsky, Kubrick and Alan Moore (like if you're going to borrow borrow from the best), yet very much its own thing.<br />
<br />
<b>Blindspotting / Sorry To Bother You</b><br />
<b><br /></b>
Two films. Two passion projects from directors with a background in hip-hop. Both star young upcoming African-American actors whose careers on the small screen in the states are blowing up into super stardom partly through their supporting roles on extremely well received situation comedies. Two films dealing in their own way with race and class, white privilege, gentrification. Both employ elements of satire to get their points across and are both incredibly funny, while being quite serious with some heavy moments. Both are masterpieces of modern cinema. Yet, one landed this side of the Atlantic with the hype and aplomb behind it it rightly deserved and got a wide cinematic release and the other didn't, and I can't for the life of me tell you why. If anyone knows do please fill me in.<br />
<br />
<b>A Dark Song</b><br />
<br />
Absolute belter. As someone with a bit of an interest in though not a practitioner of magick this hit a lot of my happy places, like I've never tried doing anything like the stuff in this film myself but I know enough about it and the people who do do this IRL to appreciate that the writer and director knows his shit. Also nice to see some more great cinema coming out of my own country (albeit with and all English cast and pretending to be rural Wales). Does tone and atmosphere masterfully, big surprise for a first time director.<br />
<br />
<b>Mom and Dad</b><br />
<br />
Yeah, we all loved Mandy but the Nicholas Cage performance of the year for me was this absolute gem. Picked it up from John Waters end of year list. Definitely one of the funniest films I've seen all year (is it just me or is it hard to find a good comedy these days?) again good sci-fi, nice central pleasingly Ballardian) conceit that's used to the fullest to explore something IRL and milk it for thrills, scares and dark dark humour. I look forwards to watching this with my own parents. (Not to be confused with Mum and Dad which I haven't seen yet but intend to).<br />
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<b>The Untamed</b><br />
<br />
Mexican cult cinema is really going off at the minute, in the wake of Guillermo Del Toro there is some really brilliant stuff being done, usually using a genre conceit to explore some IRL horror. <i>Tigers Are Not Afraid</i> was another one which was excellent and worth seeking out. The Untamed gets mad props from me for being an example of using a particularly trashy subgenre of sci-fi / horror with genuine thoughtfulness and seriousness. Would seriously recommend, best watched sight-unseen as its one where the less you know about it going in the better.<br />
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<b>Spiderman: Into The Spider Verse</b><br />
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<br />
The very last films I saw in a cinema last year. I went in reckoning that it was going to be good. It wasn't long in before I started to feel like it was going to be the comic book adaption of the year, in what was quite a good year for that sort of thing came out thinking that it was the best comic book feature film adaption of the current crop, possibly of all time and one of the best animated films ever full stop. I always say that the mark of a good comic book adaption is if it captures on screen the essence of what makes the comic good, down to the formal conceits employed. This did that like few others I've seen. The whole alternate universes being represented by different art / drawing styles is an old trick on paper (the earliest I remember seeing it was in 2000ADs <i>Hewligans Haircut</i> which is from the 80s but I don't doubt it had been done well before that) but this is the first time I've seen it on screen (aside from a throwaway gag in the otherwise shitty Hitchikers Guide film) and it made it a central plot point. That was cool, as was the brilliantly realised character work, the cutting edge animation, the meta inter-textual referential stuff that was just the right level of nerdy to please the die-hards endlessly while never disturbing the enjoyment of anyone else who wasn't in on it, the humour. Every element popped individually, and yet this managed to be more than the sum of its parts, even as good as those parts were.<br />
<br />Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-69271419779893202182018-05-12T10:12:00.002-07:002021-10-22T15:23:56.651-07:00Iconic Horror Cinema + my introduction to the genre<div style="text-align: left;">
<span style="text-align: right;">I came across an old 2000AD "Chilling Winter Tales" special of mine from 1994. It contains a short article by an anonymous features writer under the by-line Roxilla. It was a run down of their favourite horror films. Now these weren't deep cuts by todays standards at all, Starts with King Kong and runs through, Bride of Frankenstein, Psycho, The Texas Chain Saw Massacre, Nightmare on Elm Street etc through to the 80s, providing some interesting detail about the production and special effects along the way. Entry level stuff for sure but to a 13-year-old-me it was quite important and my first introduction to The Haunting, Suspiria, Near Dark and others which remain firm favorites of mine. </span></div>
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<span style="text-align: right;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-7VRBjmpu8A0/WvckhUh4riI/AAAAAAAACfU/DU9kgwRy0xoFyvWjlSXGv1fCRNihB1F7QCLcBGAs/s1600/2kadwntrtls1995.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="460" height="400" src="https://3.bp.blogspot.com/-7VRBjmpu8A0/WvckhUh4riI/AAAAAAAACfU/DU9kgwRy0xoFyvWjlSXGv1fCRNihB1F7QCLcBGAs/s400/2kadwntrtls1995.jpg" width="287" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Actual cover of that 2000AD Winter Special</td></tr>
</tbody></table>
<div style="text-align: left;">
<span style="text-align: right;">Now the reason why I'm posting this is that one thing that always stuck with me from the article was the last paragraph: "Its sad that since Near Dark there's not been a horror film released that has come up to the standard of the 13 classics covered here. On the law of averages, you'd expect at least two cracking horror films in a decade. Maybe the classics for the 90s have yet to be made. Here's hoping that's true." </span></div>
<div style="text-align: left;">
<span style="text-align: right;"><br /></span></div>
<div style="text-align: left;">
<span style="text-align: right;">Now, that's a bit of an exaggeration, by then Braindead had been made and some of the choices seem a bit arbitrary in retrospect (The Shining is a glaring omission for example) no doubt due to the limitations of the format, intended audience (I'm assuming there's no body horror or weird sexy stuff because its for kids / teens so no Hellraiser, Cronenberg etc.), a set word count, etc, but it does raise a question, what were the iconic, ground-breaking, trend setting horrors of the last couple of decades? </span></div>
<div style="text-align: left;">
<span style="text-align: right;"><br /></span></div>
<div style="text-align: left;">
<span style="text-align: right;">Personally, I'd say for the 1990s Ring and The Blair Witch Project. Ring opened the doors of Asian horror onto an unsuspecting world, Blair Witch wasn't the first Found Footage film but it was the one that broke the genre into the mainstream, doesn't quite hold up today on its own as a piece of cinema so maybe not but as a method and a sign of where horror films were at at the turn of the century its pretty important. </span></div>
<div style="text-align: left;">
<span style="text-align: right;"><br /></span></div>
<div style="text-align: left;">
<span style="text-align: right;">For the 2000s - 28 Days Later for bringing the zompocalypse survival horror genre up to date with aplomb and doing something new with the zombies and Martyrs for being both viscerally disturbing and thoughtful. This decade, I could be wrong but I can't think of anything that has been able to land with the sort of impact of any of the above. There's been some good ones and some interesting ones but I'm struggling to think of anything that's going to spawn its own subgenre or anything like that. The only thing I can think of is Under The Skin for being the first to bring an abstract art-house sensibility to horror. Maybe Get Out? Horror has always had an element of social commentary (sometimes unconscious) but that is very much what the film is from the surface down, while still being an effective horror film in its own right. </span></div>
<div style="text-align: left;">
<span style="text-align: right;"><br /></span></div>
<div style="text-align: left;">
<span style="text-align: right;">Or I dunno, maybe the 2-per-decade premise was just a conceit to give a loose structure to the article and doesn't hold up at all under examination. Still, it was a decent introduction to Horror films, and while it wouldn't be defining of my taste in horror gave me a decent grounding in the history of horror cinema on which I would build later. </span></div>
<div style="text-align: left;">
<span style="text-align: right;"><br /></span></div>
<div style="text-align: left;">
<span style="text-align: right;">For reference the 13 films covered by the article are as follows: </span></div>
<div style="text-align: left;">
<span style="text-align: right;">King Kong </span></div>
<div style="text-align: left;">
<span style="text-align: right;">The Bride of Frankenstein </span></div>
<div style="text-align: left;">
<span style="text-align: right;">I Walked with a Zombie</span></div>
<div style="text-align: left;">
<span style="text-align: right;">Invasion of the Body Snatchers </span></div>
<div style="text-align: left;">
<span style="text-align: right;">Psycho </span></div>
<div style="text-align: left;">
<span style="text-align: right;">The Haunting </span></div><div style="text-align: left;"><span style="text-align: right;">Night of the Living Dead </span></div>
<div style="text-align: left;">
<span style="text-align: right;">The Texas Chain Saw Massacre </span></div>
<div style="text-align: left;">
<span style="text-align: right;">Suspiria </span></div>
<div style="text-align: left;">
<span style="text-align: right;">Hallow'een </span></div>
<div style="text-align: left;">
<span style="text-align: right;">The Evil Dead </span></div>
<div style="text-align: left;">
<span style="text-align: right;">Nightmare on Elm Street </span></div>
<div style="text-align: left;">
<span style="text-align: right;">Near Dark</span></div>
Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-15695328589457507982018-04-24T15:35:00.002-07:002018-04-25T15:51:34.510-07:00Appendix 2: Literature as a consumer product in 1890s Britain and Gissing’s New Grub Street.<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: left;">This is one of two term papers written as practice and a way of getting my thoughts together in preperation for my masters thesis which I have published on this blog </span><a href="http://cmcv-lifeatthesharpend.blogspot.co.uk/2018/04/victorian-nightmares-materialist.html" style="text-align: left;" target="_blank">here</a><span style="text-align: left;">. It has been e put up here for the sake of completion. The other one has been posted </span><a href="http://cmcv-lifeatthesharpend.blogspot.co.uk/2018/04/appendix-1-left-hand-of-empire.html" target="_blank">here</a><span style="text-align: left;">.</span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<br />
<div class="MsoNormal" style="margin-top: 12.0pt; text-indent: 36.0pt;">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>in
the 1880s and 90s there was a perceptible shift in the production and
distribution of literature.<span style="mso-spacerun: yes;"> </span>The reading
public, who had been increasing incrementally over the previous two centuries,
suddenly expanded as the business of writing and selling books, magazines and
other forms of literary culture was revolutionised.<span style="mso-spacerun: yes;"> </span>It is in this context that George Gissing
wrote <i style="mso-bidi-font-style: normal;">New Grub Street</i><b style="mso-bidi-font-weight: normal;">,</b> the novel that would make his name
and come to be regarded as his finest.<span style="mso-spacerun: yes;">
</span>The Novel takes as its subject the world of writers around 8-10 years
before it was written.<span style="mso-spacerun: yes;"> </span>The Gissing
specialist John Goode</span><u><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">,</span></u><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">
referring to<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>Gissing’s diaries, puts the novel as having fermented over the
course of 1890 before finally being written in the late autumn and early winter
of that year<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[1]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>The novel begins in autumn 1882<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[2]</span></span><!--[endif]--></span></span></a>
with the main plot covering the next 2-3 years up to July 1885, ending with a
short denouement set 12 months after<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[3]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>In essence Gissing is chronicling the
formation of the productive relations that he was working under in 1890 by
excavating their origins in the novel format<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[4]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The main theme of the
book is Writing in the context of the changing mode of production in
literature, especially the effect of this on the work that writers do and the
daily realities that writers are faced with.<span style="mso-spacerun: yes;">
</span>When one takes into consideration that Gissing himself lived through
this period on the bottom wrung of the publishing industry as an impoverished
writer, <i style="mso-bidi-font-style: normal;">New Grub Street</i> appears not
so much as fiction but also as auto-biography, cum<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>reportage as well as
advancing a particular aesthetic thesis.<span style="mso-spacerun: yes;">
</span>As such<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">,</i></b> it provides a unique insight for historians of the period
into the experience of those relations of production and consumption by writers
and journalists and it<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>provides insights into the
operation of culture within Late-Victorian capitalism.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region> in the 1880s and 90s, this
printed culture of novels, periodicals and magazines was the mass media,
occupying the same place that television does today.<span style="mso-spacerun: yes;"> </span>Significantly, this was the time in British
history when the novel as a means of cultural transmission was at its zenith,
however its influence was being challenged by a factors emerging from a new
range of conditions of production and consumption.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Although Gissing did not express the process in
economic terms in his fiction, what he is really describing is the
commodification of writing and the intrusion into the writers’ literary
production of the market, reducing the writer to a mere artisan.<span style="mso-spacerun: yes;"> </span>This change is encapsulated in the first
pages of <i style="mso-bidi-font-style: normal;">New Grub Street</i> by the bold
statement that “Literature nowadays is a trade<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[6]</span></span><!--[endif]--></span></span></a>”.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The plot of the novel reflects this in its
structure, which,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>“is
based on a common convention in Victorian fiction, which is to have two
independent stories which in narrative terms are largely independent of each
other but which echo and contrast”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[7]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The precise nature of what is echoed and
contrasted in the novel is the lives of two writers, their work, their
relations with women, their attitude to each other and<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">,</i></b> by extension<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">,</i></b>
their place in the edifice of literary production. This also leads
concomitantly to their consideration of literary consumption.<span style="mso-spacerun: yes;"> </span>Specifically, this is the contrast summed up
at the start of the novel by Jasper Milvain, then protagonist of one of the
story threads, in reference to his friend Edward Reardon, the protagonist of
the other;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“The thing you must understand about a man like
Reardon and a man like me is that he is the old type of unpractical artist, I
am the literary man of 1882.”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[8]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Milvain<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>then goes on to conceptualise the
difference in their relations to the market;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“He won’t make concessions, or rather, he can’t
make them; he can’t supply the market…your successful man of letters is your
skillful tradesman.<span style="mso-spacerun: yes;"> </span>He thinks first and
foremost of the markets; when one kind of good begins to go off slackly, he is
ready with something new and appetising”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[9]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In the course of the novel this is just what
Milvain goes on to do by becoming a Journalist, a vulgar populist writer of
ephemera, in contrast to the scrupulousness of Reardon’s devotion to his muse.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The novel also goes into the wider literary
scene through the secondary characters, each of which are involved in the
business of writing in some way.<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></b>These
include<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>Milvain’s sisters<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">,</i></b> who he introduces to the trade,
Biffen, a writer, Whelpdale, a failed writer who becomes a literary agent,
Alfred Yule, a man of letters and failed periodical editor and his daughter
Marian, assistant to her father and up-coming woman of letters in her own
right.<span style="mso-spacerun: yes;"> </span>Each of these characters adds
another facet to the picture of the literary world that Gissing is trying to
paint in the novel.<span style="mso-spacerun: yes;"> </span>By concentrating on
this circle of friends and acquaintances and their relationships the author
brings into sharp focus the personal cost of the holistic intrusion of market
forces onto the creative intellect, i.e. the way it effects not only the work
of writers but their relationships, personalities, health and behavior.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Implicit in Gissing’s argument is a formulation
we may term as a “Moral-economy of literary production” that was common in the
Fin de Siecle<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[10]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>This is the notion that artistic production
should exist free of any concerns except whatever artistic concerns inspire the
creator.<span style="mso-spacerun: yes;"> </span>Mainly this refers to the idea
that great art requires freedom from commercial concerns and stems from the
perennial dynamic tension between the personal and social nature of artistic
production, favoring of course the personal to the detriment of the social
location within the capitalist mode of production.<span style="mso-spacerun: yes;"> </span>Although this, “Moral Economy”, was not
successful or effective in the way the social phenomenon described by E.P.
Thompson was<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[11]</span></span><!--[endif]--></span></span></a>,
we can nonetheless see a constant negotiation of the commercial nature of their
work by artists and writers.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Recent scholarship has convincingly suggested
that the reason why Gissing, and others of his generation, favoured the
personal factor in this creative dialectic as a reaction against an intrusive
and disconcerting nature of the social factor.<span style="mso-spacerun: yes;">
</span>For writers in late Victorian England this expressed itself in the form
of the rapidly changing productive relations in literature in the late 19<sup>th</sup>
century<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[12]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>This was largely distributor led and favored
certain forms and subjects over others<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[13]</span></span><!--[endif]--></span></span></a>
married to an increasing sophistication of publishing practice with its perennial
need to maximise profits.<span style="mso-spacerun: yes;"> </span>Hence we can
see that the balance of power in this relation between production and
consumption favored the tastes of the distributors, not the producer.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Exemplifying the writers’ Moral economy in the
Novel are the characters of the two novelists, Edwin Reardon and Harold
Biffen.<span style="mso-spacerun: yes;"> </span>Both are true artists who can’t
adopt themselves to the market.<span style="mso-spacerun: yes;"> </span>The
difference between them is that Reardon has a family to support which forces
him to try fruitlessly, to adapt to the market. Which in turn leads to the
ruination of his physical and mental health and family, whereas Biffen is
unencumbered, with only himself to look after, and lives at the edge of poverty
but without compromising his art.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Biffen is the purest example of the literary
producer in the novel.<span style="mso-spacerun: yes;"> </span>He writes his
fiction without reference to the market either in terms of subject, form,
content or potential audience.<span style="mso-spacerun: yes;"> </span>This is
because the production of literature is everything to him, the end in
itself.<span style="mso-spacerun: yes;"> </span>Whether or not his efforts are
ever re-numerated are incidental.<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>In a conversation with Reardon he
claims not to expect his novel to even be published<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">.</i></b><a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[14]</span></span><!--[endif]--></span></span></a>
None the less he pushes himself to the point of starvation and eventually
charges into a burning building to rescue the only copy of his manuscript from
the flames<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[15]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US">Reardon’s position is more complex. The
struggle between Reardon and the hated market constitutes the drama in this
thread of the novel.<span style="mso-spacerun: yes;"> </span>Before achieving a
degree of literary fame he had lived much as Biffen, but sustained by a job as
a clerk.<span style="mso-spacerun: yes;"> </span>His day job and lack of
familial commitments mean he is unencumbered by commercial pressures and so is
able to work as he likes.<span style="mso-spacerun: yes;"> </span>By the
beginning of the action in the novel his writing has brought him with success
the responsibilities of a husband and father.<span style="mso-spacerun: yes;">
</span>If Biffen represents the ideal of the writer, Reardon represents
something like the reality as in order to maintain his family he is compelled
not just to write but to write something sellable.<span style="mso-spacerun: yes;"> </span>Because the money it brings in is a necessity
he has to continually produce in order to survive, even if it means
compromising on the quality of the work itself.<span style="mso-spacerun: yes;">
</span>In Gissing’s depictions of Reardon’s struggles it is clear that being
able to create depends on a number of psychological factors an important one
being that forcing yourself to write is destructive of what makes one capable
of it in the first place.</span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Jasper Milvain is the antithesis of Reardon and
Biffen.<span style="mso-spacerun: yes;"> </span>He engages with the market as a
professional.<span style="mso-spacerun: yes;"> </span>He writes only what he can
sell.<span style="mso-spacerun: yes;"> </span>Although, as is implied in the
novel, he is no less talented or capable of creating great works of art than
Biffen or Reardon, he instead engages with the market by cynically pandering to
vulgar tastes and fashions.<span style="mso-spacerun: yes;"> </span>Instead of
pushing the medium and creating something unique or original, which is at least
the intention of Biffen, he only seeks to reproduce that which is commercially
reliable.<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></b>In advising his sisters
as to how to go about writing as a profession, he makes this abundantly clear,
telling them:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“There is a tremendous sale for religious
stories, why not pitch one together?…I tell you writing is a business.<span style="mso-spacerun: yes;"> </span>Get together half-a-dozen fair specimens of
the Sunday school prize; study them; discover the essential points of such composition;
hit upon new attractions; then go to work methodically, so many pages a day.”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[16]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">One interesting thing to note in this context
is the ways in which the writer is conceptualised as a tradesman or a
businessman.<span style="mso-spacerun: yes;"> </span>Some commentators seem to
suggest that because of the emergence of writers unions and the mechanisation
of the industry that writers were becoming proletarianised<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[17]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Actually the position of the writer appears
closer to a petty bourgeoisie, i.e. those who labour but own their own means of
production.<span style="mso-spacerun: yes;"> </span>In a sense, if we take
Bourdieu’s description of creativity as a natural resource<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[18]</span></span><!--[endif]--></span></span></a>,
they are comparable to small farmers.<span style="mso-spacerun: yes;">
</span>Although Gissing doesn’t employ such metaphors himself, the use of
agricultural metaphors is not uncommon in describing the creative process.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The work cycle of Reardon as laid out in the
novel does have a similarity to that of a small farmer.<span style="mso-spacerun: yes;"> </span>That is to say, labouring over a novel for an
expected sale at the end of the period of cultivation.<span style="mso-spacerun: yes;"> </span>For example, borrowing towards the end of
that period when the money from the last harvesting is becoming scarce on the
expectation of selling the product is something that characterised the micro
economics of small holding peasants in pre-famine rural <st1:country-region w:st="on"><st1:place w:st="on">Ireland</st1:place></st1:country-region><a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[19]</span></span><!--[endif]--></span></span></a>,
and according to Gissing, the Reardon household towards the end of one of
Readon’s novels.<span style="mso-spacerun: yes;"> </span>Similarly, a bad (i.e.
unpublishable) novel was disastrous in the same way that as a bad harvest was
disastrous for the small producer.<u><o:p></o:p></u></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The mechanical way in which Milvain works and
manages his labour time is among the aforementioned factors which has led
Bowlby amongst others to wrongly assert that writing was proletarianised. </span><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Actually since its inception
the term, “Petty Bourgeoisie”, has been taken to infer proletarian forms of
labour, the distinction between the two mainly being the relation to the means
of production and distribution</span><a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[20]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">.<span style="mso-spacerun: yes;"> </span>Hence, the particular mode of
literary production, as depicted in the novel, was both alienating and
mechanistic and self regulated.<span style="mso-spacerun: yes;"> </span>The
breakdown of Jasper’s working day<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[21]</span></span><!--[endif]--></span></span></a>
is very precise, like a manager’s log, with the total monetary value of the
time worked out to within a couple of guineas.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">So too for Marian Yule, who at one point
fantasises about a literary machine; “some automaton to supply the place of
creatures such as herself, to turn out books and articles”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[22]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>The mechanised process of literary production
is described in the same terms as “only to throw in a given number of old
books, and have them reduced, blended, modernised into a single new book”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[23]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Jasper describes his method of working up new
articles thus; <o:p></o:p></span></div>
<div class="MsoNormal">
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“From five to half past I read four news papers
and two magazines, and from half past to quarter to six I jotted down several
ideas that had come to me while reading”.<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn24" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[24]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Between these two sections from the text we can
observe something at the heart of Gissing’s conceptualisation of this mode of
consumption, i.e. that where this writing comes from isn’t the heart of the
writer or their observation of real life, which would give it some sort of
higher relevance, but from other writing alone.<span style="mso-spacerun: yes;">
</span>This isn’t creation, the act of a creative mind, but more akin to<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>recycling,
the shuffling around of pre-existing writing that has relevance only to and of
itself.<span style="mso-spacerun: yes;"> </span>While the product may be
entertaining or well written, it doesn’t further human culture.<span style="mso-spacerun: yes;"> </span>This is what Milvain means when he refers to
his day’s work as having literary value, “equal to the contents of a mouldy
nut”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn25" name="_ftnref25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[25]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">This explosion in the consumption and
production of literature that constituted the crisis, as Gissing saw it, was
facilitated by a number of factors.<span style="mso-spacerun: yes;">
</span>Firstly there were technological advances in the mechanisation of
printing as well as more efficient paper making processes<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn26" name="_ftnref26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[26]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Also, the repeal of Stamp Tax in 1855 and
Paper Duty in 1860 had removed one non-material barrier to the mass production
of paper<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn27" name="_ftnref27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[27]</span></span><!--[endif]--></span></span></a>
and encouraged a great expansion of the News Paper industry that had also been
gathering pace incrementally over the preceding centuries.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The main factor however, as perceived at the
time, was the education acts of the 1870-90s, which gradually introduced
universal primary education.<span style="mso-spacerun: yes;"> </span>Literacy
had been increasing incrementally over the preceding centuries<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn28" name="_ftnref28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[28]</span></span><!--[endif]--></span></span></a>,
but the acts expanded the reading public to an extent unheard of, creating for
the first time a literate reading public<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn29" name="_ftnref29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[29]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The effect that this Cultural Revolution and
the sort of reading it engendered had on those already literate classes was the
unleashing of a storm of reactionary ire and condescension.<span style="mso-spacerun: yes;"> </span>In the organs of the literary establishment
the “disease” of “unproductive reading” by this upstart literate mass reading
public was lamented and tied into contemporary discourses on degeneration<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn30" name="_ftnref30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[30]</span></span><!--[endif]--></span></span></a>,
and critics of the time were horrified at the national out pouring of grief at
the death of the revered and popular poet Tennyson<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn31" name="_ftnref31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[31]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>This indeed could be said to be the period
that saw, to paraphrase Thompson, The Making of the English Literary
Intelligentsia<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn32" name="_ftnref32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[32]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">At the time when Gissing was writing <i style="mso-bidi-font-style: normal;">New Grub Street</i> the production and
distribution of novels in Britain was mired in an archaic system of private
lending libraries, the most important of which being Mudies, which has been
described as having a “grip on the fiction industry”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn33" name="_ftnref33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[33]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Unlike <st1:country-region w:st="on">America</st1:country-region>
and <st1:country-region w:st="on">France</st1:country-region>, where the advances
in printing had meant the sale of literature directly to consumers, in <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region> the
novels were mainly produced as three volumes, so called, “Three Deckers”.<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></b>These were mainly sold to circulating
libraries which the would-be consumer of literature had to subscribe to to use<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn34" name="_ftnref34" style="mso-footnote-id: ftn34;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[34]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>For the author this meant that the crucial
notion of what was saleable, or permissible to print, rested in the hands of
the small group of owners of these lending libraries and not the reading public
at large.<span style="mso-spacerun: yes;"> </span>Mudies in particular was
notorious for its conservatism<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn35" name="_ftnref35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[35]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>This is also one of the main reasons why
British literature appears stuffy and repressed with regards to its content and
themes, especially in comparison with French literature of the same period.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">It also created the precarious position of the
author’s finances, i.e. the way the novelist could only really expect
re-numeration for their labour at the point of sale to his publisher because
then, as now, sales generate royalties, not the rental of an already sold item.<span style="mso-spacerun: yes;"> </span>It would also seem that when the reading
public purchased books in the 1880s-early 1890s, they were generally bought
second hand, as is most of Reardon’s personal library<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn36" name="_ftnref36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[36]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">This particular system of distribution would
eventually be swept away, but not until after <i style="mso-bidi-font-style: normal;">New Grub Street</i> was published,<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>although we can see the beginnings
of this process in Gissings depiction of the literary world of the 1880s.<span style="mso-spacerun: yes;"> </span>The way they are depicted in the novel is
interestingly catastrophic.<span style="mso-spacerun: yes;"> </span>Just as <i style="mso-bidi-font-style: normal;">In TheYear Of The Jubilee</i> prefigures the
Baudrillardian critique of consumerism<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn37" name="_ftnref37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[37]</span></span><!--[endif]--></span></span></a>,
the depiction of the mass culture prefigures the 20<sup>th</sup> century
debates around the degradation of society and the inner life of the individual<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn38" name="_ftnref38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[38]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>He also harks back to Matthew Arnold’s notion
of culture as an expression of all that’s pure and good in society, extending
the arguments of <i style="mso-bidi-font-style: normal;">Culture and Anarchy</i>
into the decades after <st1:city w:st="on"><st1:place w:st="on">Arnold</st1:place></st1:city>’s
death.<span style="mso-spacerun: yes;"> </span><st1:city w:st="on"><st1:place w:st="on">Arnolds</st1:place></st1:city> contribution to what I have referred
earlier as a “Moral Economy” of literary production was a mid 19<sup>th</sup>
century positivism with regards to perfection and the perfectibility of society
through Culture.<span style="mso-spacerun: yes;"> </span><st1:city w:st="on"><st1:place w:st="on">Arnold</st1:place></st1:city> is a pervasive but unacknowledged
presence in the novel.<span style="mso-spacerun: yes;"> </span>Reardon in
particular can be described as having distinctly Arnoldian tendencies is his view
of art and his taste in Hellenic culture and civilization, something
undoubtedly shared by his creator<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn39" name="_ftnref39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[39]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Inherent in this idea is a particularly elitist
notion of what constituted good literature. <i style="mso-bidi-font-style: normal;">Culture
and Anarchy</i> is actually where the English usage of the word ‘Philistine’ is
used in the pejorative sense of someone who is not just un-enlightened, but
actually oppositional towards the Arts.<span style="mso-spacerun: yes;">
</span>In <i style="mso-bidi-font-style: normal;">New Grub Street</i>
Philistineism is most directly associated with the manufacturing end of book
publishing, specifically in the character of John Yule who we meet in the
second chapter<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn40" name="_ftnref40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[40]</span></span><!--[endif]--></span></span></a>.
The arguments he articulates in his exchange with Milvain and his brother
Alfred are the direct opposite of <st1:city w:st="on"><st1:place w:st="on">Arnold</st1:place></st1:city>’s
in <i style="mso-bidi-font-style: normal;">Culture and Anarchy.</i><span style="mso-spacerun: yes;"> </span>Yule, has little appreciation of the
literature he publishes (reading little besides papers<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn41" name="_ftnref41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[41]</span></span><!--[endif]--></span></span></a>),
little sympathy with the authors (including his nieces, husband, Edwin Reardon,
who he says he’d pay <i style="mso-bidi-font-style: normal;">not to write<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn42" name="_ftnref42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[42]</span></b></span><!--[endif]--></span></span></a></i>)
and would rather people spent their leisure time on the outdoors.<span style="mso-spacerun: yes;"> </span>He even goes so far as to wish to see “the
business of literature abolished”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn43" name="_ftnref43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[43]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>That his trade is the manufacture of paper is
indicative of Gissing’s more general association of mass production with
philistinism.<span style="mso-spacerun: yes;"> </span>This is evident in the
exchange between Milvain and John Yule when Milvain remarks about paper that;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“‘if that article (i.e. paper) were not so
cheap and so abundant, people wouldn’t have so much temptation to scribble’”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn44" name="_ftnref44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[44]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">It is because of this dilution of the Arnoldian
ideal of the improving mission of writing by the mass education and mass
culture - which was driven, as Gissing clearly saw it by the philistine owners
of the means of book production - that his reaction to the very forces which
would remove the system of book production that he struggled under would be so
completely pessimistic<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn45" name="_ftnref45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[45]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">To begin with a new generation of publishers
was arising to challenge the established publishing houses and orthodox
publishing methods.<span style="mso-spacerun: yes;"> </span>This was to provide
a new space for innovations in the production and distribution of literature,
as Jonathan Rose points out, in late Victorian Britian, “</span><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">often the most innovative
authors are taken on by the most aggressive entrepreneurs, those who are ready
to adapt to and exploit a changing literary marketplace</span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn46" name="_ftnref46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[46]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>In New Grub Street this particular form of
Victorian capitalism is embodied in Jedwood, a publisher who has only recently
come into the business after a marriage to a rich woman<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn47" name="_ftnref47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[47]</span></span><!--[endif]--></span></span></a>
has begun to take risks and overturn some of the publishing practices that
emerged under the established houses.<span style="mso-spacerun: yes;">
</span>Jedwood is very much the new type;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“He talked much of ‘The New Era’, foresaw
revolutions in publishing and book selling, tried every week a score of untried
ventures that should appeal to the democratic generation just maturing”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn48" name="_ftnref48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[48]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Those revolutions weren’t complete at the time
of publication, <i style="mso-bidi-font-style: normal;">New Grub Street</i>
itself was a Three Decker that was first sold to the lending libraries, they
would be completed by the middle years of the decade<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn49" name="_ftnref49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[49]</span></span><!--[endif]--></span></span></a>,
and would have been noticeably well under way to a professional novelist like
Gissing.<span style="mso-spacerun: yes;"> </span>And yet in the novel this
development, and all the others that would change the literature industry,
objectively for the better, is treated with horror or disdain.<span style="mso-spacerun: yes;"> </span>The description of Jedwood is hardly
flattering, the idea that he’s married into money, rather than having had the
decency to be born to it, carries the implication of gold-digging.<u><o:p></o:p></u></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Another factor that had revolutionised the
consumption of literature was the mass transit system.<span style="mso-spacerun: yes;"> </span>Again Gissing seems to regard this as a
negative development.<span style="mso-spacerun: yes;"> </span>One of the main
themes of <i style="mso-bidi-font-style: normal;">New Grub Street</i> is the rise
of the relative importance of the magazine in relation to the novel and the
related process of degeneration of the novel itself<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn50" name="_ftnref50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[50]</span></span><!--[endif]--></span></span></a>
because of these conditions.<span style="mso-spacerun: yes;"> </span>The rail
networks provided short intervals of time when the urban commuter could snatch
a little reading time.<span style="mso-spacerun: yes;"> </span>It was soon
recognised that the commuter was an important market for publishers, as near to
a captive audience as one could wish for, hence bookshops and stalls were
opened in railway stations (this is how the high street chain WH Smiths began<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn51" name="_ftnref51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[51]</span></span><!--[endif]--></span></span></a>).<span style="mso-spacerun: yes;"> </span>Magazines full of short articles that would
only take the length of a train journey to read were produced, with great
success - Newne’s <i style="mso-bidi-font-style: normal;">Tit-Bits</i> in
particular, which;<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">“From
its inception…was denounced as the bastard offspring of the commodification of
literature:… exploiting readers with limited literacy and short attention
spans.”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn52" name="_ftnref52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 12.0pt;">[52]</span></span><!--[endif]--></span></span></a></span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The arguments around this development<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn53" name="_ftnref53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[53]</span></span><!--[endif]--></span></span></a>
are dramatised by Gissing in a three-way exchange between Jasper Milvain, his
sister Dora and Whelpdale.<span style="mso-spacerun: yes;"> </span>Whelpdale
proposes a plan for a new magazine that a Victorian audience would have
understood as a none-too subtle proxy of Tit-Bits<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn54" name="_ftnref54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[54]</span></span><!--[endif]--></span></span></a>.
The magazine and it’s audience are described in terms which explicitly links
its format to educational standards and a debased type of reading related to
the use of public transport;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“I would have the paper address itself to the
quarter educated…the great new generation that is being turned out by the Board
Schools, the young men and women who can just read but are incapable of
sustained attention.<span style="mso-spacerun: yes;"> </span>People of this kind
want something to sustain them on trains and on Buses and ‘trams...Everything
must be short, two inches at the utmost; their attention can’t sustain itself
beyond two inches.”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn55" name="_ftnref55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[55]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Jasper approves of the project, calling it
half-ironically, “one of the most notable projects of modern times”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn56" name="_ftnref56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[56]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Dora on the other hand objects to the project
on the grounds that, “Surely these poor silly people oughtn’t to be encouraged
in their weakness”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn57" name="_ftnref57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[57]</span></span><!--[endif]--></span></span></a>,
and is only placated by the notion that even reading such fare as Chit-Chat on
the train is better than reading nothing, “So long as they only read the paper
at such times”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn58" name="_ftnref58" style="mso-footnote-id: ftn58;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[58]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The diversification in literature is another
part of the process that would end the Three Decker novel system, and like
magazines and the new publishing houses, would be subtly railed against by
Gissing in New Grub Street.<span style="mso-spacerun: yes;"> </span>One of the
most notable and historically significant parts of this process, was the
emergence of a degree of gendering in the market.<span style="mso-spacerun: yes;"> </span>This was essentially the beginning of an
identity consumerism where instead of trying to address the whole reading
public the publishers found it more profitable to create books for sale to a
specific niche.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">This practice was directly contradictory to <st1:city w:st="on"><st1:place w:st="on">Arnold</st1:place></st1:city>’s vision of a
Culture that “seeks to do away with classes”<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn59" name="_ftnref59" style="mso-footnote-id: ftn59;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[59]</span></span><!--[endif]--></span></span></a>
to create a singular culture for everyone to partake in, which in practice
meant a monolithic cannon.<span style="mso-spacerun: yes;"> </span>Gissing seems
to have taken a particular exception to this in the form it took when targeting
an emerging generation of newly literate women as a particular niche
market.<span style="mso-spacerun: yes;"> </span>This is certainly the most
common form of niche marketing that we encounter in the novel.<span style="mso-spacerun: yes;"> </span>When Milvain first suggests his sisters take
up writing to supplement their income, it is this sort of gender-specific
writing that he has in mind<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn60" name="_ftnref60" style="mso-footnote-id: ftn60;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[60]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>There is of course an undertone of misogyny
to this as well.<span style="mso-spacerun: yes;"> </span>As Carey has observed,
Gissing found the new generation of women that had benefited from the education
acts contemptible and pretentious<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn61" name="_ftnref61" style="mso-footnote-id: ftn61;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[61]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Although this strain of Gissing’s isn’t so
evident in <i style="mso-bidi-font-style: normal;">New Grub Street</i>, the
refrain that semi-educated women, who are incapable of being more than that are
imperiling the health and well being of the nation is evident in his other
novels<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn62" name="_ftnref62" style="mso-footnote-id: ftn62;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[62]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>That said however, in the novel professional
writing is presented as differently for women, who are not allocated the same
status as the male writers.<span style="mso-spacerun: yes;"> </span>Milvain’s
sisters do the sort of hack writing described above, but for a specifically
female audience.<span style="mso-spacerun: yes;"> </span>Marian’s literary
endeavors are all in the service of her father and are almost a form of
parental abuse that exploits the subject and is detrimental to her femininity.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">One conclusion that we can draw from the novel
is that the products of print culture, novels, magazines and newspapers<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn63" name="_ftnref63" style="mso-footnote-id: ftn63;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[63]</span></span><!--[endif]--></span></span></a>
have a dual existence as commodities and as cultural artifacts.<span style="mso-spacerun: yes;"> </span>These two lives that books have are almost,
but not entirely independent of one another.<span style="mso-spacerun: yes;">
</span>Pierre Bourdieu has given us the useful notion of a Field of Cultural
Production, a sort of idea-space for the functioning of the creative mind that
is framed within the productive relations of its time but not dictated by them.<span style="mso-spacerun: yes;"> </span>We might say that the Writer’s Moral Economy,
as exemplified in the novel by Reardon and Biffen, is the mentality of the
field of cultural production.<span style="mso-spacerun: yes;"> </span>Milvain’s
perspective is also within the field of cultural production but it is more of
the productive relations that frame it than the field itself.<span style="mso-spacerun: yes;"> </span>These two positions representing a continuum
of thought and behavior, in the field channeling different currents to
different ends.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The way in which the field of cultural
production expresses itself in material reality is in the production of a
symbolic configuration on a material form.<span style="mso-spacerun: yes;">
</span>By which I mean that at its most basic level, the act of filling the
pages of a book with words and pictures is commodity fetishism on a grand
scale, quite literally imbuing an object with a symbolic meaning beyond its
materiality.<span style="mso-spacerun: yes;"> </span>However this isn’t quite
the same thing, as it is from the symbolic content of a printed commodity that
its use-value is derived. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">However the commodity fetishism of printed
culture expresses itself in other ways.<span style="mso-spacerun: yes;">
</span>Advertising and the reputation of the author are also important factors,
ones that Gissing spends some time over.<span style="mso-spacerun: yes;">
</span>For example, near the beginning of the novel, Milvain spells out the
importance of having money and a presence in society, to getting published<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn64" name="_ftnref64" style="mso-footnote-id: ftn64;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[64]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Also, the importance of favorable reviews in
imbuing a book with a saleable value is another recurring concern that comes up
at several points in the novel.<span style="mso-spacerun: yes;"> </span>At one
of these points Milvain observes that in the, “struggle for existence among
books<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn65" name="_ftnref65" style="mso-footnote-id: ftn65;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[65]</span></span><!--[endif]--></span></span></a>”,
good reviews were necessary for a novel’s success as a saleable commodity.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The physical form of the novel, the binding,
typography and illustration etc. is no less important to the novel as a
consumer item.<span style="mso-spacerun: yes;"> </span>Although the success of a
cultural commodity might not be predicated on this “Packaging”, Maura Ives work
on the production of the novels of George Meredith have shown how the physical
presentation of novel acts to bolster its appeal<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn66" name="_ftnref66" style="mso-footnote-id: ftn66;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[66]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>For example in the typeface, the size of the
print etc. recreates the identity of the author and itself acts as a form of
advertising<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn67" name="_ftnref67" style="mso-footnote-id: ftn67;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[67]</span></span><!--[endif]--></span></span></a>
and that the watermark and indenting the first page with the author’s initials
acts as a physical connection between the author and consumer<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftn68" name="_ftnref68" style="mso-footnote-id: ftn68;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[68]</span></span><!--[endif]--></span></span></a>.
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Finally, what <i style="mso-bidi-font-style: normal;">New Grub Street</i> demonstrates human experience of the changing
dialectic relation between the consumption and production of literature in the
1880s and 90s.<span style="mso-spacerun: yes;"> </span>Although Gissing has a
particularly singular vision of this world, one of his skills as an author is
to present an argument or debate from both sides and to make the two as real as
to have an equal emotional truth.<span style="mso-spacerun: yes;">
</span>Although there are some exceptions to this, when Gissing sets up an
opposition he can present both sides so as to make them credible and articulate.<span style="mso-spacerun: yes;"> </span>For as much as Milvain is the authors wry
mouthpeice for everything he saw wrong with modern literature, Jasper Milvain
still has a real emotional life and our sympathies.<span style="mso-spacerun: yes;"> </span>Although we know from biographical
information which side of the fence he was on, a purely textual reading could
put Reardon and Milvain on a par, or even put Milvain as the most favoured out
of the two, since he both survives the novel and gets the girl in the end.<span style="mso-spacerun: yes;"> </span>It is for this reason that the book was, and
continues to be, a useful indication of the interior life of writers living in
the new Grub Street of <st1:country-region w:st="on"><st1:place w:st="on">Britains</st1:place></st1:country-region>
Fin-de Seicle.<br /><b style="mso-bidi-font-weight: normal;"><br /><br clear="all" style="page-break-before: always;" />
<span style="mso-spacerun: yes;"> </span>Bibliography<o:p></o:p></b></span></div>
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<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Adorno,
T.W. & Horkheimer, M., <i style="mso-bidi-font-style: normal;">The Dialectic
of Enlightenment</i> (Verso; London, 1997)<o:p></o:p></span></div>
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<br /></div>
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<st1:city w:st="on"><st1:place w:st="on"><span lang="EN-US" style="mso-ansi-language: EN-US;">Arnold</span></st1:place></st1:city><span lang="EN-US" style="mso-ansi-language: EN-US;">, M. <i style="mso-bidi-font-style: normal;">Culture and Anarchy </i>(1882, <a href="http://www.library.utoronto.ca/utel/nonfiction_u/arnoldm_ca/ca_ch-1.html"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">http://www<span style="mso-bookmark: _Hlt136976697;">.</span>library.utoronto.ca/utel/no<span style="mso-bookmark: _Hlt137244424;">n</span>fiction_u/arnoldm_ca/ca_ch-1.html</span></a><!--[if !supportNestedAnchors]--><a href="https://www.blogger.com/null" name="_Hlt137244424"></a><a href="https://www.blogger.com/null" name="_Hlt136976697"></a><!--[endif]-->)<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Benjamin,
W. (trans, H. Zorn), <i style="mso-bidi-font-style: normal;">Illuminations</i>
(Pimlico; London, 1999)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Benjamin,
W. <i style="mso-bidi-font-style: normal;">Understanding Brecht</i> (New Left
Books; London, 1973)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Bourdieu,
P. <i style="mso-bidi-font-style: normal;">The Field Of Cultural Production</i>
(Polity; Oxford, 1993)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Bowlby, R.,
<i style="mso-bidi-font-style: normal;">Just Looking; Consumer Culture in
Dreiser, Gissing<span style="mso-spacerun: yes;"> </span>and Zola</i> (Methuen;
Cambridge, 1985)<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Carey, J. <i style="mso-bidi-font-style: normal;">The Intellectuals and The Masses: Pride and
Prejudice Amongst the Literary Intelligentsia 1880-1938</i> (Faber and Faber;
Chatham, 1992)<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Gissing, G.
<i style="mso-bidi-font-style: normal;">New Grub Street </i>(OUP; Oxford, 1998)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span>- John Goode, ‘Introduction’
ppvii-xxi<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Goode, J. <i style="mso-bidi-font-style: normal;">George Gissing: Ideology and Fiction</i>
(Vision Press; London, 1978)<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<st1:country-region w:st="on"><st1:place w:st="on"><span lang="EN-US" style="mso-ansi-language: EN-US;">Jordan</span></st1:place></st1:country-region><span lang="EN-US" style="mso-ansi-language: EN-US;">, J.O. and Patten, R.L. (eds.) <i style="mso-bidi-font-style: normal;">Literature in the Market Place:
Nineteenth-century British Publishing and Reading Practices</i> (Cambridge
University Press; Cambridge, 1997)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo1; tab-stops: list 54.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="mso-ansi-language: EN-US;">Maura
Ives, ‘A Bibliographical Approach to Victorian Publishing’ pp269-288<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-list: l0 level1 lfo1; tab-stops: list 54.0pt; text-indent: -18.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="mso-ansi-language: EN-US;">Kelly
J. Mays, ‘The Disease of Reading and Victorian Periodicals’ pp165-194<o:p></o:p></span></div>
<div class="MsoNormal">
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<span lang="EN-US" style="mso-ansi-language: EN-US;">Marcuse, H.
<i style="mso-bidi-font-style: normal;">One-Dimensional Man</i> (Routledge; <st1:city w:st="on"><st1:place w:st="on">Guilford</st1:place></st1:city>, 2002)<o:p></o:p></span></div>
<div class="MsoNormal">
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<span lang="EN-US" style="mso-ansi-language: EN-US;">Marx,
K., <i style="mso-bidi-font-style: normal;">Theories of Surplus Value, Part 1 </i>(CPSU
Press; Moscow, 1959)<o:p></o:p></span></div>
<div class="MsoNormal">
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<span lang="EN-US" style="mso-ansi-language: EN-US;">McDonald,
P.D. <i style="mso-bidi-font-style: normal;">British Literary Culture and
Publishing Practice 1880-1914</i> (Cambridge University Press; Cambridge, 1997)<o:p></o:p></span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">Nueberg,
V.E. <i style="mso-bidi-font-style: normal;">Popular Literature: A History and
Guide</i> (Penguin; Reading 1977)<o:p></o:p></span></div>
<div class="MsoNormal">
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O’Grada, C.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Great Irish Famine</i> (Cambridge
University press; Cambridge, 1995)<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Rose, J. <i style="mso-bidi-font-style: normal;">The Intellectual Life of the British Working
Classes</i> (<st1:placename w:st="on">Yale</st1:placename> <st1:placetype w:st="on">University</st1:placetype> Press; <st1:city w:st="on"><st1:place w:st="on">Suffolk</st1:place></st1:city>, 2001)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<strong><span style="font-weight: normal;">Rose, J. ‘Was
Capitalism Good For Victorian Literature?’ in<i style="mso-bidi-font-style: normal;"> </i></span></strong><i style="mso-bidi-font-style: normal;">Victorian
Studies: an interdisciplinary journal of social, political, and cultural
studies</i> (<st1:placetype w:st="on">Univ.</st1:placetype> of <st1:placename w:st="on">Indiana</st1:placename>, <st1:city w:st="on"><st1:place w:st="on">Bloomington</st1:place></st1:city>
(46:3) (Spring 2004) , p.489-501<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Sutherland,
J.A. <i style="mso-bidi-font-style: normal;">Victorian Novelists and Publishers</i>
(UOL Athlone Press; London, 1976)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Thompson,
E.P. ‘The Moral Economy of The English Crowd of the Eighteenth Century’ in <i style="mso-bidi-font-style: normal;">Customs in Common </i>(;,) pp185-258<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Trotsky,
L.D. <i style="mso-bidi-font-style: normal;">Literature and Revolution</i> (Redwords;
London, 1991)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span>-Lindsey German, ‘Foreword’
pp9-42<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Veblen, T. <i style="mso-bidi-font-style: normal;">The Theory of the Leisure Class: An Economic
Study of Institutions </i><span style="mso-spacerun: yes;"> </span>(Dover;
Mineola, 1994)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Williams,
R. <i style="mso-bidi-font-style: normal;">The Long Revolution</i> (Penguin;
Reading, 1961</span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">)<o:p></o:p></span></div>
<div style="mso-element: footnote-list;">
<!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[1]</span></span><!--[endif]--></span></span></a> J.
Goode, Introduction p.ix</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[2]</span></span><!--[endif]--></span></span></a> G. Gissing
New Grub Street p6, 8</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[3]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Ibid., p511</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[4]</span></span><!--[endif]--></span></span></a> R.
Bowlby, Just Looking: Consumer Culture in Gissing, Dreiser and Zola p.102</div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[5]</span></span><!--[endif]--></span></span></a> Cit.</div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[6]</span></span><!--[endif]--></span></span></a> G.
Gissing, p.8</div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[7]</span></span><!--[endif]--></span></span></a> J.
Goode, <span lang="EN-US" style="mso-ansi-language: EN-US;">George Gissing:
Ideology and Fiction p.131</span></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[8]</span></span><!--[endif]--></span></span></a> G.
Gissing, ibid. p.8</div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[9]</span></span><!--[endif]--></span></span></a> Ibid,
pp8-9</div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[10]</span></span><!--[endif]--></span></span></a> See for
example Howell and Colderidge’s comments, quoted in R, Bowlby, p 92, and also
the comment in the article from the Scots Observer that, “Literature exists of
itself and for itself”, quoted in P. D. Macdonald p.9</div>
</div>
<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[11]</span></span><!--[endif]--></span></span></a> E.P.
Thompson, The Moral Economy and the English Crowd</div>
</div>
<div id="ftn12" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[12]</span></span><!--[endif]--></span></span></a> eg. A.
Poole, Gissing In Context p.119</div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[13]</span></span><!--[endif]--></span></span></a> See for
instance Gosse’s comments on the Novel.</div>
</div>
<div id="ftn14" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[14]</span></span><!--[endif]--></span></span></a>
Gissing, p.370</div>
</div>
<div id="ftn15" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[15]</span></span><!--[endif]--></span></span></a> ibid.,
pp.428-433</div>
</div>
<div id="ftn16" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[16]</span></span><!--[endif]--></span></span></a> ibid.
p13</div>
</div>
<div id="ftn17" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[17]</span></span><!--[endif]--></span></span></a> E.g. R.
Bowlby p.90</div>
</div>
<div id="ftn18" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[18]</span></span><!--[endif]--></span></span></a> P.
Bourdieu, The Field of Cultural Production p.76</div>
</div>
<div id="ftn19" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[19]</span></span><!--[endif]--></span></span></a> C.
O’Grada, The Great Irish Famine, pp.32-3</div>
</div>
<div id="ftn20" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[20]</span></span><!--[endif]--></span></span></a> See for
instance in K. Marx, Theories of Surplus Value Part 1 p395-6</div>
</div>
<div id="ftn21" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[21]</span></span><!--[endif]--></span></span></a> G.
Gissing, p.181</div>
</div>
<div id="ftn22" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref22" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[22]</span></span><!--[endif]--></span></span></a> ibid.,
p107</div>
</div>
<div id="ftn23" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref23" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[23]</span></span><!--[endif]--></span></span></a> ibid.,
p107</div>
</div>
<div id="ftn24" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref24" name="_ftn24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[24]</span></span><!--[endif]--></span></span></a> ibid.,
p181</div>
</div>
<div id="ftn25" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref25" name="_ftn25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[25]</span></span><!--[endif]--></span></span></a> ibid.,
p181</div>
</div>
<div id="ftn26" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref26" name="_ftn26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[26]</span></span><!--[endif]--></span></span></a> R.
Williams, p.190</div>
</div>
<div id="ftn27" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref27" name="_ftn27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[27]</span></span><!--[endif]--></span></span></a> Ibid.
p.217</div>
</div>
<div id="ftn28" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref28" name="_ftn28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[28]</span></span><!--[endif]--></span></span></a> ibid,
pp.177-189</div>
</div>
<div id="ftn29" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref29" name="_ftn29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[29]</span></span><!--[endif]--></span></span></a> J.
Carey, The Intellectuals and The Masses p5</div>
</div>
<div id="ftn30" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref30" name="_ftn30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[30]</span></span><!--[endif]--></span></span></a> See. K.
Mays, <span lang="EN-US" style="mso-ansi-language: EN-US;">‘The Disease of Reading
and Victorian Periodicals’ in Jordan, J.O. and Patten, R.L. (eds.) Literature
in the Market Place: Nineteenth-century British Publishing and Reading
Practices</span></div>
</div>
<div id="ftn31" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref31" name="_ftn31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[31]</span></span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">McDonald, P.D. British Literary
Culture and Publishing Practice 1880-1914 pp.3-5</span></div>
</div>
<div id="ftn32" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref32" name="_ftn32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[32]</span></span><!--[endif]--></span></span></a> Kelly
Mays points out that in this period and in relation to these discourses the
idea of “Study” as opposed to “Reading” is seriously formulated (p. 181), and
amateur learning clubs give way to the professionalisation of intellectual
labour through an institutional structure that is effectively the beginnings of
the British University system and the epistemological authority of academic
citation (pp.183-4).</div>
</div>
<div id="ftn33" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref33" name="_ftn33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[33]</span></span><!--[endif]--></span></span></a> J.
Rose, <strong><span style="font-weight: normal;">‘Was Capitalism Good For
Victorian Literature?’ </span></strong>p.496</div>
</div>
<div id="ftn34" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref34" name="_ftn34" style="mso-footnote-id: ftn34;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[34]</span></span><!--[endif]--></span></span></a> R. Bowlby,
pp85-6</div>
</div>
<div id="ftn35" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref35" name="_ftn35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[35]</span></span><!--[endif]--></span></span></a> J.
Goode, Introduction p.xiv</div>
</div>
<div id="ftn36" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref36" name="_ftn36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[36]</span></span><!--[endif]--></span></span></a> G.
Gissing, p.208</div>
</div>
<div id="ftn37" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref37" name="_ftn37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[37]</span></span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">i.e. the thwarted desire of the
middle class urban consumer, J. Goode, George Gissing: Ideology and Fiction.</span></div>
</div>
<div id="ftn38" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref38" name="_ftn38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[38]</span></span><!--[endif]--></span></span></a> See for
example T.W. Adorno’s theories on mass culture, or his fellow <st1:place w:st="on"><st1:placename w:st="on">Frankfurt</st1:placename> <st1:placetype w:st="on">School</st1:placetype></st1:place>
associate Herbert Marcuse.</div>
</div>
<div id="ftn39" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref39" name="_ftn39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[39]</span></span><!--[endif]--></span></span></a> We know
that the sections of Reardon’s travels to Europe and recollections of <st1:country-region w:st="on"><st1:place w:st="on">Greece</st1:place></st1:country-region> were
semi-autobiographical.</div>
</div>
<div id="ftn40" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref40" name="_ftn40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[40]</span></span><!--[endif]--></span></span></a> G.
Gissing, pp.15-27</div>
</div>
<div id="ftn41" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref41" name="_ftn41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[41]</span></span><!--[endif]--></span></span></a> ibid.,
p.20</div>
</div>
<div id="ftn42" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref42" name="_ftn42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[42]</span></span><!--[endif]--></span></span></a> ibid.
p.25</div>
</div>
<div id="ftn43" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref43" name="_ftn43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[43]</span></span><!--[endif]--></span></span></a> ibid.
p.23</div>
</div>
<div id="ftn44" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref44" name="_ftn44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[44]</span></span><!--[endif]--></span></span></a> ibid.
p.23</div>
</div>
<div id="ftn45" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref45" name="_ftn45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[45]</span></span><!--[endif]--></span></span></a>
Interestingly, this was actually at odds with what Arnold actually said in
Culture and Anarchy, whose ethos was more in line with an egaliterian
one-nation Toryism, not dissimmilar to his literary contemporary Mrs Gaskell.</div>
</div>
<div id="ftn46" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref46" name="_ftn46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[46]</span></span><!--[endif]--></span></span></a> J.
Rose, <strong><span style="font-weight: normal;">‘Was Capitalism Good For
Victorian Literature?’ </span></strong>p497</div>
</div>
<div id="ftn47" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref47" name="_ftn47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[47]</span></span><!--[endif]--></span></span></a> G.
Gissing, p164</div>
</div>
<div id="ftn48" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref48" name="_ftn48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[48]</span></span><!--[endif]--></span></span></a> ibid.
p.167</div>
</div>
<div id="ftn49" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref49" name="_ftn49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[49]</span></span><!--[endif]--></span></span></a> J.
Rose, <strong><span style="font-weight: normal;">‘Was Capitalism Good For
Victorian Literature?’ </span></strong>p490</div>
</div>
<div id="ftn50" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref50" name="_ftn50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[50]</span></span><!--[endif]--></span></span></a> J.
Carey, pp107-8<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></div>
</div>
<div id="ftn51" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref51" name="_ftn51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[51]</span></span><!--[endif]--></span></span></a> R.
Williams, p190</div>
</div>
<div id="ftn52" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref52" name="_ftn52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[52]</span></span><!--[endif]--></span></span></a> J.
Rose, <strong><span style="font-weight: normal;">‘Was Capitalism Good For
Victorian Literature?’</span></strong></div>
</div>
<div id="ftn53" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref53" name="_ftn53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[53]</span></span><!--[endif]--></span></span></a> See for
example the aforementioned Scots Observer article quoted in P.D. Macdonald (p.)
for an example contemporaneous with New Grub Street.</div>
</div>
<div id="ftn54" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref54" name="_ftn54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[54]</span></span><!--[endif]--></span></span></a> When
describing the contents, the word “Bits” is used by Whelpdale six times in the
same sentence to hammer the point home. Gissing, p.460</div>
</div>
<div id="ftn55" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref55" name="_ftn55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[55]</span></span><!--[endif]--></span></span></a> ibid.
p.460</div>
</div>
<div id="ftn56" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref56" name="_ftn56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[56]</span></span><!--[endif]--></span></span></a> ibid.
p.460</div>
</div>
<div id="ftn57" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref57" name="_ftn57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[57]</span></span><!--[endif]--></span></span></a> ibid.
p.460</div>
</div>
<div id="ftn58" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref58" name="_ftn58" style="mso-footnote-id: ftn58;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[58]</span></span><!--[endif]--></span></span></a> ibid.
p.461</div>
</div>
<div id="ftn59" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref59" name="_ftn59" style="mso-footnote-id: ftn59;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[59]</span></span><!--[endif]--></span></span></a> M.
Arnold, Culture and Anarchy (preface)</div>
</div>
<div id="ftn60" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref60" name="_ftn60" style="mso-footnote-id: ftn60;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[60]</span></span><!--[endif]--></span></span></a> G.
Gissing, p.35</div>
</div>
<div id="ftn61" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref61" name="_ftn61" style="mso-footnote-id: ftn61;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[61]</span></span><!--[endif]--></span></span></a> J.
Carey, p.100</div>
</div>
<div id="ftn62" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref62" name="_ftn62" style="mso-footnote-id: ftn62;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[62]</span></span><!--[endif]--></span></span></a> Ibid.
pp.97-103</div>
</div>
<div id="ftn63" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref63" name="_ftn63" style="mso-footnote-id: ftn63;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[63]</span></span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">And we might perhaps extrapolate
this out to include and mass-produced cultural artifact.</span></div>
</div>
<div id="ftn64" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref64" name="_ftn64" style="mso-footnote-id: ftn64;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[64]</span></span><!--[endif]--></span></span></a> G.
Gissing, pp.28-30</div>
</div>
<div id="ftn65" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref65" name="_ftn65" style="mso-footnote-id: ftn65;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[65]</span></span><!--[endif]--></span></span></a> Ibid.
p.456</div>
</div>
<div id="ftn66" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref66" name="_ftn66" style="mso-footnote-id: ftn66;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[66]</span></span><!--[endif]--></span></span></a> L. Ives
<span lang="EN-US" style="mso-ansi-language: EN-US;">‘A Bibliographical Approach to
Victorian Publishing’ p.275-288</span></div>
</div>
<div id="ftn67" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref67" name="_ftn67" style="mso-footnote-id: ftn67;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[67]</span></span><!--[endif]--></span></span></a> Ibid.,
p.278</div>
</div>
<div id="ftn68" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohnna/Downloads/CONORLATESTESSAY020606withcomments.doc#_ftnref68" name="_ftn68" style="mso-footnote-id: ftn68;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[68]</span></span><!--[endif]--></span></span></a> ibid.,
p.274</div>
</div>
</div>
</div>
Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-24474490399649231592018-04-24T15:33:00.003-07:002018-04-25T03:59:22.955-07:00Appendix 1: The Left Hand of Empire: the Fantastic and the Irrational in the Culture of Colonialism.<br />
<div style="text-align: left;">
This is one of two term papers written as practice and a way of getting my thoughts together in preperation for my masters thesis which I have published on this blog <a href="http://cmcv-lifeatthesharpend.blogspot.co.uk/2018/04/victorian-nightmares-materialist.html" target="_blank">here</a>. It has been e put up here for the sake of completion. The other one has been posted <a href="http://cmcv-lifeatthesharpend.blogspot.co.uk/2018/04/appendix-2-literature-as-consumer.html" target="_blank">here</a>.</div>
<div>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: large;"><br /></span></u></b></div>
<h2>
<br /></h2>
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<h2>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: large;"><br /></span></u></b></h2>
<h2>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: large;"><br /></span></u></b></h2>
<h2>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: large;">Introduction, Colonialism
without Monsters</span></u></b></h2>
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<br /></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">What is empire without its monsters?<span style="mso-spacerun: yes;"> </span>In the historiography of the culture of
empire the monsters seem conspicuously absent.<span style="mso-spacerun: yes;">
</span>This may be because of an old Leavisite tendency in cultural studies and
cultural history that favors a canonical approach to texts, wherein there is a
certain prejudice against the fantastic (perhaps for reasons outlined
below).<span style="mso-spacerun: yes;"> </span>This is not important, but the
fact is, much scholarly work on the subject of imperial culture<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[1]</span></span><!--[endif]--></span></span></a>
does not address this particular aspect.<span style="mso-spacerun: yes;">
</span>Without the authors having intended it, one gets the impression of a
well functioning “para-literary wing of the imperial project”<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[2]</span></span><!--[endif]--></span></span></a>,
where the heroic literature of childhood turns boys into soldiers and men are
absolved of any empathy by the Orientalism of the subject populations.<span style="mso-spacerun: yes;"> </span>There is no guilt, no fear and all is
rational.<span style="mso-spacerun: yes;"> </span>No one is overwhelmed by their
emotions and terror is unknown.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Not
only does this prospect seem like a massive injustice to the range and
complexity of the human condition, but it also ignores an important part of the
actual operation of culture in the context of imperialism.<span style="mso-spacerun: yes;"> </span>Writing within the context of the
independence struggle in <st1:country-region w:st="on"><st1:place w:st="on">Algeria</st1:place></st1:country-region><a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><i style="mso-bidi-font-style: normal;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[3]</span></b></span><!--[endif]--></span></i></span></a>,
in his introduction to Memmi’s <i style="mso-bidi-font-style: normal;">The
Coloniser and The Colonised </i>Jean-Paul Sartre observes that the apparatus of
the colonial system relies on oppression and the dehumanising of the colonised<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[4]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>This will work itself out in the cultural
discourses around the colonial project.<o:p></o:p></span></div>
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<h1 style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">I. Structures of feeling and Authority<o:p></o:p></span></b></h1>
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<br /></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">As
Edward Said has put forward in his (in?)famous monograph <i style="mso-bidi-font-style: normal;">Orientalism</i>, the pursuit of knowledge of the Orient by scholars,
map makers and colonial administrators-turned anthropologists etc. wasn’t
merely an act of passive observation<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[5]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Applying a Foucaultian power discourse
analysis to these activities he makes a compelling argument that this was
actually a process of the making of the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">E</i></b>ast by the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">W</i></b>est, often with a
specific objective with regards to the Imperial project.<span style="mso-spacerun: yes;"> </span>For example, he looks at the politics
inherent in cartography, in which maps become practical tools of imperial
penetration into unknown land.<span style="mso-spacerun: yes;"> </span>He also
notes that along side these rational discourses of the imperialist project,
there existed an entire discourse of the imaginative<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[6]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>In this essay it is my contention that this
other discourse, which takes place only on the margins of the dispassionate
scientific/scholarly world of orientalism, mainly within the world of the arts,
is no less significant to the formation of the imperial hegemony than its
rational counterpart, which it both underlies and in some ways sustains.<span style="mso-spacerun: yes;"> </span>Through examining the two discourses in conjunction
with each other we can possibly uncover an imperial structure of feeling for an
emotional history of the phenomenon.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">At
this point it seems prudent to expand on what is meant<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>by the term structure of
feeling in the context of this essay.<span style="mso-spacerun: yes;"> </span>In
describing his own theoretical basis in the essay “Sociology and literature”
Raymond Williams describes a ‘structure of feeling’ as “certain common
characteristics in a certain group of writers …(and) others, in a particular
historical situation”<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[7]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Going on from that basic assertion, and
drawing on the theories of Frankfurt School, Marxists Lukács and Goldman, he
extrapolates out a notion of a structure of feeling as a relation between those
that produce the literature that inculcates a particular “organising view” of
the world and which comes to operate in consciousness<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[8]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Like Marx’s notion of Capital, it is a
cultural process whereby the mentality daily re-creates itself.<span style="mso-spacerun: yes;"> </span>In the present application then, we can
describe the Imperial “Structure of Feeling”, as doing the same, i.e.<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>recreating
the necessary colonial mentality in the discourses of the colonisers and their
home countries, and so through the system of representations of the monstrous
and inhuman does the structure re-create the colonised as unhuman and
monstrous.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">This
was also an emotive process as the images themselves were loaded with emotional
significance.<span style="mso-spacerun: yes;"> </span>In fact, some theorists
might go so far as to say that it could only have been through the solicitation
of emotion and irrational impulses that the natural sympathy we as social
animals feel for other members of our species <i style="mso-bidi-font-style: normal;">could</i> have been suppressed to create the necessary condition of
dehumanisation that colonialism requires.<span style="mso-spacerun: yes;">
</span>For example, to Theodor Adorno the Authoritarian Personality was based
on the suppression of certain taboo emotions that arise from being the subject
of authority and their projection onto minority groups.<span style="mso-spacerun: yes;"> </span>Although he was writing in a different
context (post-Nazi Germany)<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[9]</span></span><!--[endif]--></span></span></a>
and there have been some criticisms of the specifics of his approach<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[10]</span></span><!--[endif]--></span></span></a>,
a proportion of what he has laid down (in collaboration with the other authors
of <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Authoritarian Personality)</i> seems pertinent to the colonial
situation, if only because varying degrees of authority need to be maintained
by the colonial power.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Specifically,
according to Adorno;<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; mso-pagination: none;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“ </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; layout-grid-mode: line; line-height: 200%; mso-bidi-font-size: 10.0pt;">The authoritarian personality is characterised by the following:
hostility to people of inferior status; shows contempt for weakness; is rigid
and inflexible; is intolerant of ambiguity and uncertainty: is unwilling to
introspect feelings; will uphold conventional values and ways of life.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 200%; mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; layout-grid-mode: line; line-height: 200%; mso-bidi-font-size: 10.0pt;">This belief in convention and intolerance of ambiguity combine to make
minorities 'them' and the authoritarian's membership groups 'us'</span></i><span style="font-size: 12.0pt; layout-grid-mode: line; line-height: 200%; mso-bidi-font-size: 10.0pt;">…<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; layout-grid-mode: line; line-height: 200%; mso-bidi-font-size: 10.0pt;">Authoriarians also project onto these groups their own unacceptable anti
social impulses, especially sexual and aggressive impulses.<span style="mso-spacerun: yes;"> </span>Their prejudice serves an ego - defensive
function, which protects them from unacceptable parts of themselves.</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">”</span></i><span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">”<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[11]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">One
important point made by Adorno, which is of tremendous significance to
understanding the history and culture of colonialism, is how random irrational
actions are inherent in the system.<span style="mso-spacerun: yes;">
</span>Whether this is the bizarre psycho-sexual behaviour of the Japanese
soldiers during the rape of Nanking, the recent treatment of Iraqi prisoners at
Abu Grahib, or a much smaller act, such as the British colonial administrator
and Anthropologist ‘Cocky’ Hahn (allegedly) kicking a near naked Ovambo woman
‘between her legs’<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[12]</span></span><!--[endif]--></span></span></a>,
these actions are not merely the result of over worked irresponsible
individuals.<span style="mso-spacerun: yes;"> </span>Rather, these actions
should be seen as the inevitable result of the irrationality at the heart of
the authoritarian structures necessary for the operation of the colonial
system.<o:p></o:p></span></div>
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<h1 style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">II. Languages of Monstrosity<o:p></o:p></span></b></h1>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">This
now leads to some real epistemological questions of how specific irrational
discourses were constructed in history, how they were disseminated and how we
may be able to reach them.<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></b></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">It
is my contention that many answers to these questions can be found in some
recent Cultural Studies’ approaches to the Fantastic and the emerging inter
disciplinary field of Teratology.<span style="mso-spacerun: yes;"> </span>It is
in the horror stories, racist caricatures, and random details in the official
accounts that we can draw out some of the emotions that lurk behind the post
enlightenment dispassionate exterior.<span style="mso-spacerun: yes;">
</span>Fantastic literature presents an arena of almost pure imagination on the
part of the writer where ideas and symbols come together and he (and it is
usually he) can tether his vision to what reality means in his time and place,
to the extent that he wishes.<span style="mso-spacerun: yes;"> </span>Of course
any fictive narrative account is constructed imaginatively to some degree, even
if it is based on “Real Life”<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[13]</span></span><!--[endif]--></span></span></a>,
but the Gothic Horror genre is unique as a form of literature that is intended
to produce a fearful response or a feeling of psychological disquiet.<span style="mso-spacerun: yes;"> </span>These are stories that are meant to provoke
our fears and anxieties, so naturally they will be the site of representations
of the fears and anxieties of society at large (or at least among the classes
that produce and consume this sort of literature).<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></b></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Taken
together, we can see that the symbols that are common through any civilization
can constitute a language, by which I mean a system of signs and referents used
to convey meaning or to represent.<span style="mso-spacerun: yes;"> </span>While
some common theories of the phenomenology of symbols seem to emphasise “the
structure of symbolic language for its own sake<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[14]</span></span><!--[endif]--></span></span></a>”
there is a long-standing tradition that treats language as a social phenomenon
that is only explicable when it is understood as a dialogic practice.<span style="mso-spacerun: yes;"> </span>This approach, most commonly associated with
Valentin Voloshinov and other early Soviet academics<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[15]</span></span><!--[endif]--></span></span></a>
but there are elements of it in more recent work such as Geertz’s social
Anthropology<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[16]</span></span><!--[endif]--></span></span></a>,
and has a broad application in understanding a complex of symbolic language in
a social-historical context.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The
Voloshinovian concept of language also gives us an indication of the social and
symbolic nature of consciousness.<span style="mso-spacerun: yes;"> </span>In the
1960s, Schachter’s famous experiment<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[17]</span></span><!--[endif]--></span></span></a>
found that the articulation of an emotional/chemical impulse (in that case
through the administration of epinephrine) wasn’t as important to determining
the way the emotion is experienced by the individual as the form of words given
to it by the participant, based on the context.<span style="mso-spacerun: yes;">
</span>Transposed to the colonial situation, one might say that the heat and
stress of living in a colony in the tropics might engender a strong
psycho-physiological response, but the social symbolism of the colonial
experience may determine how this manifests itself as a specific emotion.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">If
the body of monstrous images in a society represents a language, then the
monsters and the stories associated with them are the grammar and sentence
structure of that language.<span style="mso-spacerun: yes;"> </span>According to<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"> </i></b>Judith
Halberstam; <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“<i style="mso-bidi-font-style: normal;">the monster’s body is a machine
that…produces meaning and can represent any horrible trait…The monster
functions…when it is able to condense as many fear producing traits as possible
into one body</i>”<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[18]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In
other words, the monster articulates numerous - even contradictory - social
emotions, and by doing so recreates them.<span style="mso-spacerun: yes;">
</span>The recent emergence of the field of teratology, the study of monsters,
can therefore provide some insight into the specific functioning of monsters in
relation to historical processes, such as colonialism.<span style="mso-spacerun: yes;"> </span>For example, some critics have suggested that
Frankenstein, which doesn’t overtly deal with the subject, derives much of its
power as an articulation of social anxieties by drawing on the imagery of the
Negro in enlightenment discourses around the abolition of slavery<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[19]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<h1 style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">III. Enlightenment and the making of the Gothic unconscious<o:p></o:p></span></b></h1>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">This
brings us on to one of the major themes in the field of teratology, which
despite the relative newness of the discipline constitutes (possibly the only)
operational paradigm and certainly isn’t without relevance to the colonial
monster.<span style="mso-spacerun: yes;"> </span>This is the idea of the
enlightenment as watershed in the development of the fantastic, and
particularly the monstrous in western civilisation.<span style="mso-spacerun: yes;"> </span>Whether it’s E. Michael Jones, who writes
from a conservative catholic perspective<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[20]</span></span><!--[endif]--></span></span></a>,
or Marxist oriented literary theorists like Baldick and Monleon<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[21]</span></span><!--[endif]--></span></span></a>
or a postmodernist like Halberstam, the social forces unleashed by political
revolution in France and industrial Revolution in Britain are quite reasonably
presented as creating a revolution (and counter-revolution) in the arts which
established new forms of literature and a new lexicon of monstrous images.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Indeed,
as Chris Baldick points out, it is precisely at this time that the word
“Monster” takes on its modern connotations.<span style="mso-spacerun: yes;">
</span>Monster comes from the same Latin root as demonstrate and (as Foucault
mentions in <i style="mso-bidi-font-style: normal;">Madness and Civilisation<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[22]</span></b></span><!--[endif]--></span></span></a></i>)
until this period is something or someone that is to be shown.<span style="mso-spacerun: yes;"> </span>This is how it is used by William Shakespear,
though even in the early 17<sup>th</sup> century it is picking up the
connotation of ingratitude, particularly the ingratitude of children towards
their parents<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[23]</span></span><!--[endif]--></span></span></a>
(which would have carried obvious political connotations in a patriarchal
state).<span style="mso-spacerun: yes;"> </span>In the context of the French
Revolution, it is these elements which are picked up on by conservative
commentators in <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region>,
particularly Edmund Burke, to be deployed in their discourses around the
revolution<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn24" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[24]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>It is this imagery that is then transposed by
Mary Shelly, who was both the daughter of enlightenment radicals and a
significant late enlightenment thinker in her own right, into the nexus of
allegories that was to become her most famous novel, Frankenstein, which is
widely regarded as a milestone in, if not the beginning of, the modern Horror
and Science Fictional genres and the foundation of one of the great Myths of
the modern age<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn25" name="_ftnref25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[25]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">It
is also the period that sees significant penetrations by the west into the “Far
East” of the world, Tippu Sultan’s rebellion in Mysore on the Indian
sub-continent, the successful slave up-rising on Saint-Domingue in the
Carribean plantation complex and the, “birth of modern Orientalism”,<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn26" name="_ftnref26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[26]</span></span><!--[endif]--></span></span></a>
with Napoleon’s failed invasion of Egypt.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Furthermore,
it is the time of a huge conceptual and epistemological shift in western
thought where the notions of the rational and reason emerge in western
discourses.<span style="mso-spacerun: yes;"> </span>Science brings with it the
notion of provability, a category of intellectual authority based on
observation rather than faith or political power.<span style="mso-spacerun: yes;"> </span>While the degree to which this actually
represented “better” evidence or just a system of authority more orientated to
the needs of the new political elites has been raised recently by the
Foucaultian tradition in postmodernism, the Mythic effect of science cannot be
underestimated.<span style="mso-spacerun: yes;"> </span>The effect on the
Orientalist discourse is described by Edward Said as follows;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“<i style="mso-bidi-font-style: normal;">The very language of Orientalism
changed…It’s descriptive realism was upgraded… and became a means of creation.</i>”<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn27" name="_ftnref27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[27]</span></span><!--[endif]--></span></span></a>
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">And
so the irrational discourse was pushed away from the mainstream of western
political economy and “serious” philosophies.<span style="mso-spacerun: yes;">
</span>The irrational, emotional and super-natural were relegated to the
margins of “scientific” discourse, classified as the “unreason” of a bygone era<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn28" name="_ftnref28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[28]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Although the power and influence of the
institutions of Christianity meant that that particular form of the
supernatural would have a continuos presence in western life, the currency of
the Bible as a basis of intellectual authority was massively de-valued in the
subsequent centuries and the process of secularisation was begun.<span style="mso-spacerun: yes;"> </span>From then on when an enlightenment figure
like Adam Smith, T.W. Malthus wanted to put forward an economic system that
included divine providence as on of its components, he could only allude to it
in terms of collective human action (i.e. The Market).<span style="mso-spacerun: yes;"> </span>Without the institutional power of the
church, other forms of supernatural belief didn’t even fare so well.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Prior
to this shift in western thought, the two discourses shared a common space in
the intellectual space.<span style="mso-spacerun: yes;"> </span>The great
thinkers of the previous centuries often had interests across the range of
science and mysticism, one need only think of recent discoveries about Sir
Isaac Newton’s alchemical investigations, or John Dee, the Magus at the
Elizabethan court during the renaissance.<span style="mso-spacerun: yes;">
</span><st1:place w:st="on">Dee</st1:place> was a noted authority on a number
of subjects and saw no contradiction between expertise in cartography,
mathematics and scrying<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn29" name="_ftnref29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[29]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Going back a few more centuries we can see
how this undifferentiated structure of feeling worked with regards to colonial
culture.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The History and Topography of Ireland </i>by Gerald deBarri<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn30" name="_ftnref30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[30]</span></span><!--[endif]--></span></span></a>,
(aka Geraldus Cambrensis or Gerald of Wales) is a classic text of Medieval
Orientalism from that age of the expansion of “Western” culture into the
European hinterlands.<span style="mso-spacerun: yes;"> </span>Its subject is the
construction of <st1:country-region w:st="on"><st1:place w:st="on">Ireland</st1:place></st1:country-region>
as the other. Drawing together contemporary accounts of its history, mainly to
indicate the fecklessness of its overlords and the vastness and richness of its
countryside in a manner to entice any young Norman Aristocrat looking for a
quick acquisition of land.<span style="mso-spacerun: yes;"> </span>It also
constructs the Irish as the colonial other.<span style="mso-spacerun: yes;">
</span>Their customs are backward and strange, their religion degraded and
their morals beyond the contempt of any true Christian.<span style="mso-spacerun: yes;"> </span>The Irish are constructed as monstrous with
their rituals of bloodletting to make oaths, drinking the blood of cattle and
other transgressive body horrors.<span style="mso-spacerun: yes;"> </span>What
the country needs, it says implicitly all the way through, is the guidance of a
more civilized peoples<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn31" name="_ftnref31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[31]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Significantly, it is also full of
descriptions of miraculous occurrences, prophecies and monstrous births.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In
Ardornian terms, one might say that as pre-enlightenment societies were
structured around naked authority, particularly when that had a legitimacy
based on metaphysics, of course the irrational and symbolic would have been
more prevalent in the discourses of the time.<span style="mso-spacerun: yes;">
</span>So the marginalising the irrational discourse by the young
revolutionaries of the enlightenment can be read as the de-legitimising of the
old order. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">While
in the enlightenment unreason was marginalised (often literally<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn32" name="_ftnref32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[32]</span></span><!--[endif]--></span></span></a>)
within the margins of culture there coalesced the gothic genre in art and
fiction.<span style="mso-spacerun: yes;"> </span>Thoughts and feelings that had
been pushed out of public discourse came to rest here and this would remain the
home of de-validated ideas and social anxieties until the present day.<span style="mso-spacerun: yes;"> </span>This unending flow of the effluvia of the
enlightenment would pool into the spawning grounds of monsters, monsters that
were capable of reproduction.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">At
the same time, it is important to note how the division between Reason and
Unreason was itself an important element in the constitution of otherness
between the colonial powers and the colonised<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn33" name="_ftnref33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[33]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>The feminist historian Joan Wallach Scott has
remarked on the tendency to couch the division of rational and irrational in
gendered terms<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn34" name="_ftnref34" style="mso-footnote-id: ftn34;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[34]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>In the colonial situation, the natives are
often depicted as effeminate or womanly in various ways while the propagandists
of empire in their depiction of the colonial adventurer strove for an ideal of
masculinity.<span style="mso-spacerun: yes;"> </span>These issues are no less
evident in the monstrous construction of the racial other.<span style="mso-spacerun: yes;"> </span>Judith Halberstam suggests that monsters are
the products of categorical ambiguities, in race and gender/sexuality<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn35" name="_ftnref35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[35]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>In his influential essay on Dracula<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn36" name="_ftnref36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[36]</span></span><!--[endif]--></span></span></a>,
Stephen Arata indicates how the image of the vampire as a foreigner and his
ambiguous gender and sexuality all combine into a Victorian nightmare of the
colonisation of the Imperial heartlands from the margins.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">One
interesting thing to note about the relationship between these discourses is
the way in which they inhabit the modern myth of the (false) dichotomy between
brain functions in the left and right hemispheres of the brain.<span style="mso-spacerun: yes;"> </span>Despite this view now having been thoroughly
discredited, it is a persistent subject of magazine articles and is apparently
being taught in schools<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn37" name="_ftnref37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[37]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Significantly, they are often overtly
associated with bogus pop-psychological notions of an implicit biological
gender difference, specifically that women or effeminate men have a more
developed right hemisphere.<span style="mso-spacerun: yes;"> </span>One might
reasonably ask how long it will be before someone says something similar about
the brains of Islamic terrorists or Chavistas in <st1:country-region w:st="on"><st1:place w:st="on">Venezuela</st1:place></st1:country-region>?<span style="mso-spacerun: yes;"> </span>Also, this idea has a lot of currency in
contemporary popular culture, which acts as the means of transmission<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn38" name="_ftnref38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[38]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>That we still have such things happening in
this day and age is a testament to the pervasiveness of this created division
between the “Real” and “Fantasy”, and its application.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Another
important point raised by these applications of the discourses as we have been
discussing them is the way in which the rational operates in relation to the
irrational.<span style="mso-spacerun: yes;"> </span>One of the important
contributions made to our understanding of culture and meaning by Jacques
Derrida is to take the Sassurian notion of difference and show how the binary
oppositions that, according to Sassure, create meaning in language, are “rarely
neutral and always express relations of power“<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn39" name="_ftnref39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[39]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Taking this into our consideration, we can
see how the binary opposition between the rational and irrational in post
enlightenment discourses expresses a power relation in favour of the rational
discourse.<span style="mso-spacerun: yes;"> </span>By being overtly fictive, the
narratives of the fantastic validate the “non-fictive” Orientalist
constructions (even as they inform them).<span style="mso-spacerun: yes;">
</span>Concurrently, even the overtly fantastic stories contain elements,
usually in their setting, that are implicitly non-fictive or at least based on
the non-fictional, that are validated as fact in relation to the fantastic
elements in the story.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Thus,
for example, the authorial authority gives an air of informed opinion to W.
Carlton Dawe’s racist musings on Chinese society in ‘Coolies’<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn40" name="_ftnref40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[40]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Here he talks about the cargo of Chinese
coolies the ship is carrying as being inordinately (and fantastically) filthy
in relation to pilgrims to <st1:city w:st="on"><st1:place w:st="on">Mecca</st1:place></st1:city>
the ship often carries.<span style="mso-spacerun: yes;"> </span>The idea that
Muslim pilgrims making the Haj are “human sewers”<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn41" name="_ftnref41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[41]</span></span><!--[endif]--></span></span></a>
is validated as the specialist knowledge of sailors in the far east, i.e. it
can become part of the nexus of absorbed social prejudices that Gramsci refers
to as, “common sense”<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn42" name="_ftnref42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[42]</span></span><!--[endif]--></span></span></a>.<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></b></span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">That
said, it would be unfair to take a totalising or homogenous view of culture as
being entirely geared towards a societal project.<span style="mso-spacerun: yes;"> </span>While ‘Coolies’, (which ends with the
narrator heroically power-hosing to death his entire contingent of mutinous
Chinese labourers) might rightly be seen as an imperial wish-fulfilment fantasy,
there are many other stories that are no less racist but are filled with
anxiety and trepidation at the entire imperialist project.<span style="mso-spacerun: yes;"> </span>The best-known of all the late-gothic
novellas<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn43" name="_ftnref43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[43]</span></span><!--[endif]--></span></span></a>
for example deals with the implicitly racist anxiety over the colonial
adventurer “going native“, i.e. becoming as horrific as the very people he’s
supposed to be bringing enlightenment to.<span style="mso-spacerun: yes;">
</span>Furthermore, in some stories we can see some manifestations of guilt and
anxiety over the easy appropriation of land and resources through the murder
and dispossession of the native peoples.<span style="mso-spacerun: yes;">
</span>Monsters in particular have always had an implicit element of dire
warning not to go too far in any particular endeavor.<span style="mso-spacerun: yes;"> </span>As Jeffery Cohen reminds us with his Fifth
thesis, “The Monster Policies the Borders of the Possible”<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn44" name="_ftnref44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[44]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>They can be both the product of hubris<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn45" name="_ftnref45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[45]</span></span><!--[endif]--></span></span></a>
and the punishment for it.<span style="mso-spacerun: yes;"> </span>This is also
of course the classic rendering of the primogenitor of nearly all the late
modern monster stories, the Frankenstein Myth, which ironically is not how the
story was in the original edition of the book but swiftly overcame the
authorial intent to the point of being incorporated by Shelly into the second
edition<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn46" name="_ftnref46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[46]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In
Edward Lucas White’s <i style="mso-bidi-font-style: normal;">Lukundoo</i><a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn47" name="_ftnref47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[47]</span></span><!--[endif]--></span></span></a>
we can read many of these aforementioned elements, a monstrification of the
African other, anxieties at dispossession, but also at the consumption of the
European invader by <st1:place w:st="on">Africa</st1:place> itself.<span style="mso-spacerun: yes;"> </span>The story itself concerns the fate of an
African explorer and anthropologist, Ralph Stone.<span style="mso-spacerun: yes;"> </span>Stone is the paradigm of the explorer, a
“notable leader of men”, a linguist <i style="mso-bidi-font-style: normal;">extraordinaire</i>
with a great knowledge of local custom.<span style="mso-spacerun: yes;">
</span>The incident that precipitates the events in the story is a rendition of
the myth of the European invader breaking the authority of native superstition
to be replaced with the authority of the white male.<span style="mso-spacerun: yes;"> </span>The specific details are alluded to but the
effect is spelt out quite explicitly and in biblical terms;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“</span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 10.0pt;">We had heard of him two years before, south of Luebo
in the Balunda country, which had been ringing with his theatrical strife against
a Balunda witch-doctor, ending in the sorcerer's complete discomfiture and the
abasement of his tribe before Stone. They had even broken the fetish-man's
whistle and given Stone the pieces. It had been like the triumph of Elijah over
the prophets of Baal, only more real to the Balunda</span></i>.<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn48" name="_ftnref48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[48]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">”<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">As
the narrator and his party approach the place were Stone is encamped more
details emerge.<span style="mso-spacerun: yes;"> </span>It seems that the
adventurer had been stricken with a mystery ailment ‘something like carbuncles’<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn49" name="_ftnref49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[49]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Considering that obscure tropical diseases,
and venereal disease in particular, were often the actual punishment for
transgressing the boundaries of the occident it seems significant that the
author chooses to make this the means of retribution for this fictional
transgressor.<span style="mso-spacerun: yes;"> </span>As they get to the camp,
what actually emerges is that tiny African bodies, copies of the aforementioned
Balunda witch-doctor, are pushing their way up through Stone’s skin and
tormenting him in thin reedy voices so that he has to slice them off with a razor.<span style="mso-spacerun: yes;"> </span>Here we can see embodied horrors about
tropical disease combined with the fear of the invader being consumed from
within by what he has invaded.<span style="mso-spacerun: yes;"> </span>The
African continually rising through the skin of the white explorer to be sliced
off every time is like the continuos and unrelenting resistance of <st1:place w:st="on">Africa</st1:place> to colonial domination.<span style="mso-spacerun: yes;"> </span>Not just breaking skin, but also talking, the
heads of the ‘minnikins’ engage in a running dialogue with Stone as he lies in
his sickbed, almost like a guilty conscience.<span style="mso-spacerun: yes;">
</span>Interestingly Stone’s eruptions say more than all the other African
figures in the story, in fact the only other African character whose words we
hear, second hand from one of the white characters, is from the civilised
trading port of Zanzibar at the coast.<span style="mso-spacerun: yes;">
</span>The Africans that are indigenous to the region the story is set in are
completely silent, except for the monster.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The
element of guilt is spelt out in the final words between Stone and his
tormentor;<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 10.0pt;">"Has
she forgiven me?" Stone asked in a muffled strangle. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 10.0pt;">"Not
while the moss hangs from the cypresses," the head squeaked. "Not
while the stars shine on <st1:place w:st="on">Lake Pontchartrain</st1:place>
will she forgive.<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn50" name="_ftnref50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; font-size: 12.0pt;">[50]</span></b></span><!--[endif]--></span></span></a>"</span></i>
</div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoBodyText2" style="line-height: 200%;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">The “She” here is entirely ambiguous, one might
say that it’s one of the women in stones life alluded to earlier, but considering
the imagery used and who is speaking that doesn’t seem likely.<span style="mso-spacerun: yes;"> </span>No, this is the gothic unconscious
representing the soul of <st1:place w:st="on">Africa</st1:place> to
itself.<span style="mso-spacerun: yes;"> </span>We will not be forgiven, it
says, not while the moss hangs from the cypresses, not while the stars shine on
<st1:place w:st="on">Lake Pontchartrain</st1:place> can we be forgiven.<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn51" name="_ftnref51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[51]</span></span><!--[endif]--></span></span></a><b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<h3 style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 10.0pt;">IV.
Problems and conclusions<o:p></o:p></span></b></h3>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">There
are<i style="mso-bidi-font-style: normal;"><u> </u></i>some cautionary notes with
the approach as outlined so far which are worthy of comment.<span style="mso-spacerun: yes;"> </span>The first is that the approach relies on a
sort of application of psychoanalysis to culture, which is problematic in some
ways.<span style="mso-spacerun: yes;"> </span>Firstly because deep
psycho-analysis has a way of degenerating into an insoluble circular discourse
of self-referential logic which says much more about the analyst than the
subject<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn52" name="_ftnref52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[52]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>While these criticisms aren’t entirely
escapable, the historical method can bring in two important mitigating factors
that balance out the problems of working completely within the realm of
thought, i.e. context and empirical validity.<span style="mso-spacerun: yes;">
</span>While contextualising an action, statement or document doesn’t
automatically provide an explaination for its specific form, taken in concert
with similar phenomena of the same type, it can provide a degree of probability
of relevance for interpretations thereof.<span style="mso-spacerun: yes;">
</span>Which leads us to a second criticism, that of displacing psychoanalytic
methods from their therapeutic context.<span style="mso-spacerun: yes;">
</span>Something that, it is hoped, ought to have been demonstrated so far is
that collective psychology is as capable of being analysed as the
undividual.<span style="mso-spacerun: yes;"> </span>For example, Jeremy Crickler
makes a strong case that social neurosis that charachterise societies in
certain epochs can be the result of a mass forgetting of traumatic incidents
from within recent memory<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn53" name="_ftnref53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[53]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">There
is also an epistemological issue there with regards to how the thoughts of
individual writers can actually relate to society at large.<span style="mso-spacerun: yes;"> </span>Stories are not just the product of society,
but of writers.<span style="mso-spacerun: yes;"> </span>Writing is a very
specific, if heterogeneous, profession and the profession requires the writer
to exercise his creative talents in a manner unlike any other.<span style="mso-spacerun: yes;"> </span>To find an answer to this criticism, we must
go back to Williams’ structure of feeling.<span style="mso-spacerun: yes;">
</span>Williams highlights a useful notion of there being a difference between
a “possible” and “actual” consciousness<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn54" name="_ftnref54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[54]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>Actual consciousness is the widest
multiplicity of thought possible in a given social group.<span style="mso-spacerun: yes;"> </span>Possible consciousness is the maximum degree
of coherence for the thought of a social group<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn55" name="_ftnref55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[55]</span></span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>In other words, we could say that the writer,
whose work it is to construct narratives, gives coherence to the elements
within the group, whether this is through the practical task of scholarly
construction of those outside the group, or the articulation of the groups
inchoate fears of the other through its monstrous representation.<span style="mso-spacerun: yes;"> </span>Williams also emphasises the structures
within works as a means of getting at these structures within the social groups
that construct them.<span style="mso-spacerun: yes;"> </span>For example, we
could take <i style="mso-bidi-font-style: normal;">Lukundoo</i> with its fears of
the uncharted monstrous space of the African interior and the dehumanisation of
the explorer Stone, along with other stories with a similar internal
structuring such as <i style="mso-bidi-font-style: normal;">A Strange Goldfeild<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn56" name="_ftnref56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[56]</span></b></span><!--[endif]--></span></span></a></i>
or <i style="mso-bidi-font-style: normal;">The Wendigo<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftn57" name="_ftnref57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12.0pt;">[57]</span></b></span><!--[endif]--></span></span></a>
</i>as indicating a general disturbance at the dehumanising effect of the
fringes of civilisation.<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="font-size: 12.0pt; line-height: 200%; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">What
I hope to have established is a theoretical approach to reading the history of
colonial culture through the system of representations of monstrosity in
popular literature as well as the orientalist scholarship and propagandist
literature for a fuller understanding of the phenomena that takes the fullest
possible spectrum of human emotion into consideration.<span style="mso-spacerun: yes;"> </span>In this fashion, we can get below the
surfaces of the mentalities of other times and into the dark undercurrents of
human nature, and perhaps make the seemingly irrational explicable.<span style="mso-spacerun: yes;"> </span>It is not the function of history to provide
therapy, our subjects are usually well past any need for catharsis or
absolution, what we can hopefully provide is some understanding and in
understanding those that have gone before us, so understand ourselves.<br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Bibliography</span></b><span lang="EN-US" style="font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Adorno, T.W. <i style="mso-bidi-font-style: normal;">The Stars Down to Earth and other essays on the irrational in culture </i>(Routledge,
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Adorno, T.W. et al. <i style="mso-bidi-font-style: normal;">The Authoritarian Personality</i> (Harper and Low; New York, 1950)<o:p></o:p></span></div>
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<st1:city w:st="on"><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Arata</span></st1:city><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">, <st1:state w:st="on">S.D.</st1:state> <i style="mso-bidi-font-style: normal;">Fictions of Loss in the Victorian ‘Fin de Siecle’ </i>(<st1:city w:st="on"><st1:place w:st="on">Cambridge</st1:place></st1:city>, 1998)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Blackwood A. (E.F. Bleiler, ed.) <i style="mso-bidi-font-style: normal;">The Best Stories of Algernon Blackwood</i>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>-
‘The Wendigo’ pp158-208<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Carroll, N. </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">The Philosophy
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Cohen, J.J. (ed.) <i style="mso-bidi-font-style: normal;">Monster Theory </i>(</span><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">University of Minnesota Press</span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">; 1996)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>-
Jeffery Jerome Cohen, ‘Monster Culture (seven theses)’pp3-25<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Crickler, J. ‘Social Neurosis and Hysterical
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">de Barri, G. <i style="mso-bidi-font-style: normal;">The Conquest of <st1:country-region w:st="on"><st1:place w:st="on">Ireland</st1:place></st1:country-region></i>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">de Barri, G. (John O’Meara, trans.) <i style="mso-bidi-font-style: normal;">The History and Topography of <st1:country-region w:st="on">Ireland</st1:country-region> </i>(Penguin Classics; <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>, 2006)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Foucault, M. (Richard Howard Trans.) <i style="mso-bidi-font-style: normal;">Madness and Civilisation: A History of
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Geertz
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Halberstam, J. <i style="mso-bidi-font-style: normal;">Skin Shows; Gothic Horror and the Technology of Monsters</i> (Duke
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Hall, C. (ed.) <i style="mso-bidi-font-style: normal;">Cultures of Empire: Colonisers in <st1:country-region w:st="on">Britain</st1:country-region>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">-
Joanna DeGroot, ‘“Sex” and “Race”: the construction of language and image in
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">-
Catherine Hall, ‘Introduction; thinking the post colonial, thinking the empire’
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">-Patrician
Hayes ‘”Cocky” Hahn and the “Black Venus”, The making of a Native Commissioner
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Jones, E.M. <i style="mso-bidi-font-style: normal;">Monsters
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Lamb, H. (ed.) <i style="mso-bidi-font-style: normal;">A Bottomless Grave and Other Victorian Tales of Terror</i> (Dover; New
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>-
Guy Boothby ‘A Strange Goldfeild’ pp200-206<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>-
W. Carlton Dawe ‘Coolies’ pp172-184<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Magee,
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Malchow,
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<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Malchow,
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">McCrone, J. ‘The Left Brain – Right Brain Myth’
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Moore, A. (writer) and Campbell E. (Artist) <i style="mso-bidi-font-style: normal;">From Hell</i> (Top Shelf; Marieta, 2001)<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; layout-grid-mode: line; mso-bidi-font-size: 10.0pt;">Parrington, J. ‘In Perspective; Valentin Voloshinov’ in </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">INTERNATIONAL SOCIALISM; Quarterly Journal of the Socialist Workers
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Reddy, W.M. <i style="mso-bidi-font-style: normal;">The
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Williams, R. <i style="mso-bidi-font-style: normal;">Problems in Material and Culture</i> (Verso; London, 1980)<o:p></o:p></span></div>
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<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[1]</span></span><!--[endif]--></span></span></a> Such as
in the recent work by Bernard Porter among others.</div>
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<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[2]</span></span><!--[endif]--></span></span></a> To
borrow Paddy Magee’s characterisation of the “Troubles Novel”, P. Magee
Gangsters and Guerillas p17</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[3]</span></span><!--[endif]--></span></span></a> First
published as a review for Temps Modernes in 1957</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[4]</span></span><!--[endif]--></span></span></a> J.P.
Sartre, ‘Introduction’ in A. Memmi, <span lang="EN-US" style="mso-ansi-language: EN-US;">The Coloniser and The Colonised p.xxviii</span></div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[5]</span></span><!--[endif]--></span></span></a> E. Said,
Orientalism p2</div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[6]</span></span><!--[endif]--></span></span></a> ibid, p8</div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[7]</span></span><!--[endif]--></span></span></a> in R. <span lang="EN-US" style="mso-ansi-language: EN-US;">Williams, Problems in Material and
Culture p22</span></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[8]</span></span><!--[endif]--></span></span></a> ibid.
p22</div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[9]</span></span><!--[endif]--></span></span></a> See P.
McVarnock, Lecture notes</div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[10]</span></span><!--[endif]--></span></span></a> ibid.</div>
</div>
<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[11]</span></span><!--[endif]--></span></span></a> ibid</div>
</div>
<div id="ftn12" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[12]</span></span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">P. Hayes ‘”Cocky” Hahn and the
“Black Venus”, The making of a Native Commissioner in South West Africa,
1915-46’pp344-348</span></div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[13]</span></span><!--[endif]--></span></span></a> Indeed
one could say that Elizabeth Gaskell’s slums, or Emile Zola’s Second Empire
France are as much fantasy universes as Tolkien’s Middle Earth or one of
William Gibson’s visions of the future.</div>
</div>
<div id="ftn14" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[14]</span></span><!--[endif]--></span></span></a> J.
Parrington, <span style="layout-grid-mode: line;">‘In Perspective; Valentin
Voloshinov’</span></div>
</div>
<div id="ftn15" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[15]</span></span><!--[endif]--></span></span></a> Ibid.</div>
</div>
<div id="ftn16" style="mso-element: footnote;">
<div class="MsoNormal" style="tab-stops: 118.9pt 502.65pt;">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[16]</span></span><!--[endif]--></span></span></a>
See the parable of the winks in C. Geertz, <span lang="EN-US" style="mso-ansi-language: EN-US;">'Thick Description: Towards an Interpretative Theory of Culture'</span></div>
</div>
<div id="ftn17" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[17]</span></span><!--[endif]--></span></span></a> S.
Schachter and J. Singer ‘Cognitive Social and Physiological determinants of
emotional states’</div>
</div>
<div id="ftn18" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[18]</span></span><!--[endif]--></span></span></a> J.
Halberstam, <span lang="EN-US" style="mso-ansi-language: EN-US;">Skin Shows; Gothic
Horror and the Technology of Monsters p22</span></div>
</div>
<div id="ftn19" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[19]</span></span><!--[endif]--></span></span></a> See. H.
Malchow ‘Frankenstein's Monster and Images of Race in Nineteenth-Century <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region>’</div>
</div>
<div id="ftn20" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[20]</span></span><!--[endif]--></span></span></a> See, E.
M. Jones, Monsters from the Id</div>
</div>
<div id="ftn21" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[21]</span></span><!--[endif]--></span></span></a> J.
Monleon, <span lang="EN-US" style="mso-ansi-language: EN-US;">A specter is haunting
<st1:place w:st="on">Europe</st1:place>: a Socio-historical Approach to The
Fantastic</span></div>
</div>
<div id="ftn22" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref22" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[22]</span></span><!--[endif]--></span></span></a> M.
Foucault, Madness and Civilisation pp.68-70</div>
</div>
<div id="ftn23" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref23" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[23]</span></span><!--[endif]--></span></span></a> C.
Baldick, pp11-12</div>
</div>
<div id="ftn24" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref24" name="_ftn24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[24]</span></span><!--[endif]--></span></span></a> ibid.
pp13-14</div>
</div>
<div id="ftn25" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref25" name="_ftn25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[25]</span></span><!--[endif]--></span></span></a> This is
actually the main argument of Chris Baldick’s book, which is one of the most
respected and most cited in the field. </div>
</div>
<div id="ftn26" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref26" name="_ftn26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[26]</span></span><!--[endif]--></span></span></a> E.
Said, p87</div>
</div>
<div id="ftn27" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref27" name="_ftn27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[27]</span></span><!--[endif]--></span></span></a> ibid.
p87</div>
</div>
<div id="ftn28" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref28" name="_ftn28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[28]</span></span><!--[endif]--></span></span></a> J.
Monleon, pp25-6</div>
</div>
<div id="ftn29" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref29" name="_ftn29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[29]</span></span><!--[endif]--></span></span></a> Scrying
– Seeking occult knowledge through trance induced by a <st1:city w:st="on"><st1:place w:st="on">Crystal</st1:place></st1:city>, bowl of water or other light
reflective or light altering object.</div>
</div>
<div id="ftn30" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref30" name="_ftn30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[30]</span></span><!--[endif]--></span></span></a> G. <span lang="EN-US" style="mso-ansi-language: EN-US;">De Barri, The History and Topography
of <st1:country-region w:st="on"><st1:place w:st="on">Ireland</st1:place></st1:country-region>
c. 1185</span></div>
</div>
<div id="ftn31" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref31" name="_ftn31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[31]</span></span><!--[endif]--></span></span></a> In
other words a more honest rendering of modern orientalism.</div>
</div>
<div id="ftn32" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref32" name="_ftn32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[32]</span></span><!--[endif]--></span></span></a> E.g. By
the removal of cemeteries and the leprous and insane away from the town
centres, J. Monleon. p30</div>
</div>
<div id="ftn33" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref33" name="_ftn33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[33]</span></span><!--[endif]--></span></span></a> See <span lang="EN-US" style="mso-ansi-language: EN-US;">Joanna DeGroot, ‘“Sex” and “Race”:
the construction of language and image in the Nineteenth Century‘ pp37-60</span></div>
</div>
<div id="ftn34" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref34" name="_ftn34" style="mso-footnote-id: ftn34;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[34]</span></span><!--[endif]--></span></span></a> See her
critique of E.P. Thompson’s The Making of the English Working Class, in J.W.
Scott, Gender and the politics of history, pp.68-90</div>
</div>
<div id="ftn35" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref35" name="_ftn35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[35]</span></span><!--[endif]--></span></span></a> J.
Halberstam, p22</div>
</div>
<div id="ftn36" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref36" name="_ftn36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[36]</span></span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">S.D.<span style="mso-spacerun: yes;">
</span>Arata, ‘The Occidental tourist; Stoker and Reverse Colonization’ in S.D.
Arata (ed.),<span style="mso-spacerun: yes;"> </span>Fictions of Loss in the
Victorian ‘Fin de Siecle’ pp107-132</span></div>
</div>
<div id="ftn37" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref37" name="_ftn37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[37]</span></span><!--[endif]--></span></span></a> E.g.,
see Sousa, D. A. How the Brain Learns: A Classroom Teacher’s Guide</div>
</div>
<div id="ftn38" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref38" name="_ftn38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[38]</span></span><!--[endif]--></span></span></a> See for
example A. Moore, From Hell ch4 or the lyrics to the popular song by The White
Stripes <i style="mso-bidi-font-style: normal;">‘Fell in Love With A Girl’;<br />
“these two sides of my brain <br />
need to have a meeting … <br />
my left brain knows that <br />
all love is fleeting”</i> <i style="mso-bidi-font-style: normal;"><o:p></o:p></i></div>
<div class="MsoBodyText">
<span style="font-style: normal;">-J. White<o:p></o:p></span></div>
</div>
<div id="ftn39" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref39" name="_ftn39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[39]</span></span><!--[endif]--></span></span></a> C.
Hall, <span lang="EN-US" style="mso-ansi-language: EN-US;">‘Introduction; thinking
the post colonial, thinking the empire’ p17</span></div>
</div>
<div id="ftn40" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref40" name="_ftn40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[40]</span></span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">W. Carlton Dawe ‘Coolies’ in Lamb,
H. (ed.) A Bottomless Grave and Other Victorian Tales of Terror pp172-184</span><b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></div>
</div>
<div id="ftn41" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref41" name="_ftn41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[41]</span></span><!--[endif]--></span></span></a> ibid,
p173</div>
</div>
<div id="ftn42" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref42" name="_ftn42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[42]</span></span><!--[endif]--></span></span></a> See A.
Gramsci,. Selections from Prison Notebooks pp332-4</div>
</div>
<div id="ftn43" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref43" name="_ftn43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[43]</span></span><!--[endif]--></span></span></a> J.
Conrad, Heart of Darkness</div>
</div>
<div id="ftn44" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref44" name="_ftn44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[44]</span></span><!--[endif]--></span></span></a> J.J.
Cohen, pp.12-16</div>
</div>
<div id="ftn45" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref45" name="_ftn45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[45]</span></span><!--[endif]--></span></span></a> See the
myth of Lycaon, ibid. p13</div>
</div>
<div id="ftn46" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref46" name="_ftn46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[46]</span></span><!--[endif]--></span></span></a> C.
Baldick, </div>
</div>
<div id="ftn47" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref47" name="_ftn47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[47]</span></span><!--[endif]--></span></span></a> E.L.
White, Lukundoo in Lukundoo and other stories</div>
</div>
<div id="ftn48" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref48" name="_ftn48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[48]</span></span><!--[endif]--></span></span></a> ibid.</div>
</div>
<div id="ftn49" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref49" name="_ftn49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[49]</span></span><!--[endif]--></span></span></a> ibid.</div>
</div>
<div id="ftn50" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref50" name="_ftn50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[50]</span></span><!--[endif]--></span></span></a> ibid.</div>
</div>
<div id="ftn51" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref51" name="_ftn51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[51]</span></span><!--[endif]--></span></span></a> This
point also leads us to the question of whether the gothic unconscious, as a
section of idea-space away from the mainstream discourse is an inherently
subversive or radical space i.e. can we read Lukundoo as radical or
conservative?<span style="mso-spacerun: yes;"> </span>This is an interesting
question and an important one at that, which certainly requires more space for
discussion than is currently available, but may be addressed in a future
project.<span style="mso-spacerun: yes;"> </span>For more on the radical potential
of horror in art please see, N. Carroll, The Philosophy of horror pp195-206</div>
</div>
<div id="ftn52" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref52" name="_ftn52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[52]</span></span><!--[endif]--></span></span></a> See P.
McVarnock</div>
</div>
<div id="ftn53" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref53" name="_ftn53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[53]</span></span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">J. Crickler, ‘Social Neurosis and
Hysterical Pre-Cognition’ p492</span></div>
</div>
<div id="ftn54" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref54" name="_ftn54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[54]</span></span><!--[endif]--></span></span></a> R. <span lang="EN-US" style="mso-ansi-language: EN-US;">Williams, </span>pp23-26</div>
</div>
<div id="ftn55" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref55" name="_ftn55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[55]</span></span><!--[endif]--></span></span></a> ibid,
pp23</div>
</div>
<div id="ftn56" style="mso-element: footnote;">
<div class="MsoNormal">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref56" name="_ftn56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[56]</span></span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">G. Boothby ‘A Strange Goldfeild’ </span>in
<span lang="EN-US" style="mso-ansi-language: EN-US;">Lamb, H. (ed.) A Bottomless
Grave and Other Victorian Tales of Terror pp200-206</span></div>
</div>
<div id="ftn57" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="file:///D:/old%20files/MASA3monsters_horrorproofreadfinal.doc#_ftnref57" name="_ftn57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman"; font-size: 10.0pt;">[57]</span></span><!--[endif]--></span></span></a> A.
Blackwood, ‘The Wendigo’ in <span lang="EN-US" style="mso-ansi-language: EN-US;">Bleiler,
E.F. (ed.) <i style="mso-bidi-font-style: normal;">The Best Stories of Algernon
Blackwood</i> pp158-208</span></div>
</div>
</div>
<br />Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-39336975863752540002018-04-24T14:55:00.001-07:002018-04-25T03:56:58.627-07:00Victorian Nightmares: A Materialist Analysis of Monsters and Monstrous Representations of Class Conflict in the Fin de Seicle.<span style="font-family: "verdana" , sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="text-align: left;">
</div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "verdana" , sans-serif;">2018 Foreword<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">In the
most recent Oscar awards there were two films, Get Out and The Shape of Water,
which garnered a lot of attention and scooped some of the big prizes, best
original screenplay for the former and best director and picture for the
latter. This brought me a lot of personal satisfaction as not only did I enjoy
both films a lot but as someone who has done academic work and research into that
sort of media content I was able to appreciate them and speak about them with
authority to other cinephiles. I was also kicking myself that having done the
masters degree ten years ago now I hadn’t pursued my studies any further, god
only knows that could have been my bake on TV talking about them and the
cultural conversation that was happening around them.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Honestly
though, I can’t beat myself up too much about that one. I found the process of
completing the MA completely brutal. I have never found myself under so much
intense pressure in my entire life and I cracked. I had to pay for an extension
by an extra term and it eventually came in months late because I couldn’t
handle it. At the time I passed it off as problems relating to my various
physical illnesses but really the problems I had were psychological, and of the
type that I now know are quite typical of people in that situation. I had only
a tenth of the word count out in first draft form when I moved back home from
campus and I couldn’t look at it for weeks. I did eventually knuckle down and
just grind it out in chunks of a couple of hundred words or so a night for
another couple of months and only achieved the flow state quite late in the
game, more or less after I had stopped caring about the quality and had merely
resolved to finish it. I had left writing the second and fourth chapter to the
end and managed to bang both those out over night and with minimal revision.
When it was eventually completed it looked for the most part like shite and
confirmed to me the imposter syndrome I’d been feeling since half way through
the course.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Looking
back at it now though I can’t believe how good the work is. There’s a few
things that maybe I’d do a little differently if I were doing it now however I
find it almost hard to believe that it came out of me. And yet it did.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Still,
aside from the physical and mental strain that working that way put on me there
are other reasons I didn’t pursue academia. I could tell that the lifestyle and
amount of work compared to the salary, the precariousness of that type of
labour and the fact that it would leave little room in my life for anything
else were all becoming apparent. The lack of funding is a bit of an issue as
well, I was able to sustain myself for a year on the small amount of money I
had saved from a call center job in the year between Queens and the
Masters, a bit of money that my folks had put aside for me in a savings account
since I was a baby, selling my car and having virtually no social life or
expensive habits at the time (I was a more or less straight edge hikikomori). I
knew that to do a PHD would require funding and that was something that was hit
hard and hit first by the economic crash that was just beginning at the time.
Funding it seemed would only be available in my field for specific types of
project. Fucking my head up over something I actually had a passion for seemed
somewhat reasonable, doing it again for a longer period of time over something
that wasn’t my choice to do seemed then as it does now like a recipe for
disaster.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">At least
in the end I did manage to finish it, it stands now as a relic of a different
time for me when I was a completely different person and as a testament to what
I can be capable of if I put my mind to it. I may never write this way ever
again but I hope that one day I’ll be able to write this well. I present it now
for public consumption from a very late draft, now with the pictures that went
with it that I’ve come across recently while going through an old hard drive
(which is one of the reason’s I hadn’t put it up here before now).<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">I’ve also
included the two term papers from the modules that I did in the second
semester. I choose the topics for those modules specifically because it would
take me into researching time periods and topics related to the thesis, and
parts of them were indeed recycled into the main work. I’m posting them up now
for the sake of completion, <a href="http://cmcv-lifeatthesharpend.blogspot.co.uk/2018/04/appendix-1-left-hand-of-empire.html" target="_blank">here</a></span> <span style="font-family: "verdana" , sans-serif;">and <a href="http://cmcv-lifeatthesharpend.blogspot.co.uk/2018/04/appendix-2-literature-as-consumer.html" target="_blank">here</a>.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Very few
people seem to read this blog and fewer still the odd term papers from my
course that I’ve already posted. Still, I’m just happy that they are out there
in the world, finally. At the time I did the MA even at that point I was very
much primarily an activist before I was a writer or even an academic and I did
it for the cause as much as for any personal ambition. Since their completion
the crisis of capitalism has continued unabated and with increasing ferocity.
The Culture Wars I anticipated that would accompany the shifts are on our
doorstep and as I’ve said before, political art which weaponises the Gothic,
the Fantastic, Monsters and everything else I write about has planked itself
right into the mainstream. Good writing about culture from a Marxist
perspective, even one as esoteric as my own seems as timely now as it was when
I first wrote it, if not more so.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<h1 style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: small; font-weight: normal;"><o:p> <div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-nbZ3NQCspUQ/Wt-TpeXJRiI/AAAAAAAACaw/WTTyivPRKlENJfUqX4kHqEyRnmX2CsA_gCEwYBhgL/s1600/Punch%2BMonster%2Bcartoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1064" height="400" src="https://3.bp.blogspot.com/-nbZ3NQCspUQ/Wt-TpeXJRiI/AAAAAAAACaw/WTTyivPRKlENJfUqX4kHqEyRnmX2CsA_gCEwYBhgL/s400/Punch%2BMonster%2Bcartoon.jpg" width="265" /></a></div>
</o:p></span></h1>
<div align="center" class="MsoBodyText" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;"><b>Introduction</b><o:p></o:p></span></div>
<div class="MsoBodyText">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">The
historian Roger Chartier describes Cultural History as “the analysis of the
process of representation”.<span class="MsoFootnoteReference"> <a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[1]</span><!--[endif]--></span></a></span><span style="mso-spacerun: yes;"> </span>Over the past decades the study of a certain
body of representations have come to the fore as an object of study and a means
of analysis for uncovering certain sections of social action, popular mentality
and wider societal truths that otherwise would remain obscure. This set of representations
that are that of Monsters and the Monstrous.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[2]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 14.2pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">Politically charged, mythic and emotionally resonant, the
image of the monster is not only a historical construct with recognisable
archaeology’s of historically constructed meaning, the study of Monsters
contains great potential as part of our conceptual tool box.<span style="mso-spacerun: yes;"> </span>Until relatively recently, and with the odd
exception, the monster has been largely passed over by historians and left to theorists
and practitioners of art and literature.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[3]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Currently however with the recent trend
towards the increasingly ambivalent boundaries between academic disciplines
historians have been getting involved in this field of investigation.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[4]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>It is in this emerging interdisciplinary <span lang="EN-IE">endeavour</span> that I locate this research
project.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">By concentrating this study on the last decades of the
Nineteenth Century, I will also be able to draw on a large body of literature
relating to the period from a variety of disciplines.<span style="mso-spacerun: yes;"> </span>Not only do we see a revival in gothic
literature<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[5]</span><!--[endif]--></span></span></a>
and the beginnings of the modern science fictional genre, but we also see the
grand narratives of the 20<sup>th</sup> century taking shape.<span style="mso-spacerun: yes;"> </span>Each of these developments has a very varied
and established body of analytical literature, and some work has been done in
bringing the one into the other.<span style="mso-spacerun: yes;"> </span>There
still remains a lot of work to be done that this current project cannot but
begin to scratch the surface, though there is the possibility of making a start
on answering some important questions about that period.<span style="mso-spacerun: yes;"> </span>Specifically I want to look at the Monster
trope in relation to the development and heightening of class conflict within
the last decades of the nineteenth century.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">In examining this particular body of memes in this way I
will be try to answer a number of questions.<span style="mso-spacerun: yes;">
</span>Firstly, tracking the production and consumption of monster literature
by the mass market and the various ways in which they are received and utilised
will allow me to address certain epistemological issues, regarding the
communication and reception of ideas within and across social classes, which
are currently being asked by social historians.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[6]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">Furthermore, I’ll be able to look at the question of
rational and irrational behaviour.<span style="mso-spacerun: yes;"> </span>Is
the creation of Monsters altogether rational?<span style="mso-spacerun: yes;">
</span>Why do human beings seem to possess a propensity for Monstrifying their
fears and anxieties?<span style="mso-spacerun: yes;"> </span>This also has
connotations with regards to the study of emotions in history, particularly the
indirect expressions of emotions not allowed direct articulation by the
emotionology of the times, such as anxieties about narratives of progress and
the superiority of the upper classes.<span style="mso-spacerun: yes;"> </span>I
will also be afforded the opportunity to look at a central question in the
study of mentalities in general, how the myths that inform our day to day
consciousness go from the personal projects of the authors to their
construction in social idea space into myths of great power and significance in
shaping the thoughts of individuals within society.<span style="mso-spacerun: yes;"> </span>Working in very different historical
disciplines, both Judith Walkowitz<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[7]</span><!--[endif]--></span></span></a>
and Christopher Frayling<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[8]</span><!--[endif]--></span></span></a>,
emphasise the importance of the Jekyll and Hyde myth on the public
understanding of the real-life Ripper murders in that period.<span style="mso-spacerun: yes;"> </span>While this is useful in shedding some light
on the issue, I think that there is potential there to go a lot further in
addressing this question of how myths are created and propagated - and the role
of the media (and especially the metropolitan media) in the transmission of
myths and related behavior.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">With regards to the secondary literature, the study of
Monsters being a field still in its formative stage, I will be drawing on a variety
of literature from across a number of fields.<span style="mso-spacerun: yes;">
</span>As well as those texts outlined above, I will be looking at the
conference papers from the last three annual conferences of the “<em><span style="font-style: normal;">Monsters and the Monstrous</span></em>” project
mentioned above.<span style="mso-spacerun: yes;"> </span>There is also a collection
of essays called “Monster Theory”<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[9]</span><!--[endif]--></span></span></a>
that contains some very interesting theoretical work and in particular a very
useful essay by the editor outlining a theoretical frame work for the field<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[10]</span><!--[endif]--></span></span></a>
(the only such attempt I have come across thus far).<span style="mso-spacerun: yes;"> </span>As useful as Cohen’s work undoubtedly is,
drawing on one particular theoretical approach to monsters, albeit and
inclusive and open ended one, will inevitably lead to the study being somewhat
limited.<span style="mso-spacerun: yes;"> </span>Therefore I will also be
drawing together some work on the horror genre in general to see what
teratological theories are implicit therein.<span style="mso-spacerun: yes;">
</span>Further to this, for background to the cannon of Monster literature I
shall be looking at literary analysis, particularly from writers associated
with what is termed the “New Historicism” within literary studies.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">It is also my intention to draw on the body of texts on the
history of labour and working class struggle in the period and its political
expression.<span style="mso-spacerun: yes;"> </span>By contextualising the work
with this body of research, I intend to bring the study into an understanding
of the role of monstrous imagery within the social history of politics.<span style="mso-spacerun: yes;"> </span>Another body of work that I will be drawing
on will be the literature surrounding the consumption of print culture in the
period, and particularly by the working classes.<span style="mso-spacerun: yes;"> </span>This will be important in trying to gauge the
extent of the spread of monster literature by direct means, and suggest the
various ways in which literature may have been received.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Part of this study will entail
analysing some of the more significant works gothic-horror literature from the
period.<span style="mso-spacerun: yes;"> </span>Some attention will be given to
the monstrous representations of social conflict in Bram Stoker’s Dracula R.L.
Stevenson’s The Strange case of Doctor Jekyll and Mr Hyde and in Wells ‘Scientific
Romances’<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[11]</span><!--[endif]--></span></span></a>
The Time Machine and The Island of Doctor Moreau.<span style="mso-spacerun: yes;"> </span>I’ll also be looking at the use of these
images in the cartoons in the mainstream periodicals of the period.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[12]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The purpose of looking at these
literary sources is to investigate the teratology of their monstrous content
and how that relates to the theory of monsters I shall be proposing,
specifically in how class anxieties are expressed therein.<span style="mso-spacerun: yes;"> </span>The signifigance of these stories is that as
well as having a distinct historio-literary pedigree, they contain the seeds of
the gothic and imaginative literature of the next century.<span style="mso-spacerun: yes;"> </span>Along with Frankenstein from the beginning of
the century these works will have a mythic resonance right into the present.<span style="mso-spacerun: yes;"> </span>While some of the themes and content of the
stories would become distorted as each generation gave them their own
expression in countless stage and (especially) film adaptations, their
endurance as tropes and touchstones of meaning within western popular culture<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[13]</span><!--[endif]--></span></span></a>
is unmistakable.<span style="mso-spacerun: yes;"> </span>At the time they were
written they were significant works as well, Jekyll and Hyde and Dracula were
both adapted for the stage to great success.<span style="mso-spacerun: yes;">
</span>The Time Machine was Well’s first novel brought him straight into the
popular imagination, ensured a ready market for his next series of ‘Scientific
Romances’ (including The Island of Doctor Moreau) and would remain in print
from then until the present.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">Among the other sources I will be drawing on are the
various collections of the radical left newspapers from the period.<span style="mso-spacerun: yes;"> </span>I will be looking at Justice the organ of the
Social Democratic Federation, which is housed at The British Library of
Political and Economic Science at the LSE, and many of the other pertinent
documents housed at the LSE such as the wide collection of pamphlet material
from that time.<span style="mso-spacerun: yes;"> </span>I’ll also be looking at
the wide variety of Socialist and Radical literature housed at the Working<span style="mso-spacerun: yes;"> </span>Class Movement Library in <st1:place w:st="on">Salford</st1:place>.<span style="mso-spacerun: yes;"> </span>They keep a large selection of worker’s
periodicals<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[14]</span><!--[endif]--></span></span></a>
and left-wing Journals<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn15" name="_ftnref15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[15]</span><!--[endif]--></span></span></a>
along with other valuable sources and works of reference.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">The importance of these sources is that they can be said to
represent a conscious section of Socialist and Working class opinion.<span style="mso-spacerun: yes;"> </span>Justice, as the organ of the Social
Democratic Federation, i.e. the British branch of the Second International, was
uniquely receptive to developments in the international working class
movement.<span style="mso-spacerun: yes;"> </span>Also, It was based in <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>, the centre of
state and cultural power and an important site of class struggle in the
period.<span style="mso-spacerun: yes;"> </span>The northern labour literature
takes in one of the other main sites of the working class movement.<span style="mso-spacerun: yes;"> </span>The Clarion was the longest running socialist
periodical in the period and regularly sold between forty and fifty thousand
papers<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn16" name="_ftnref16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[16]</span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>The editor, Robert Blatchford, would draft
the constitution of the Manchester ILP in its offices.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn17" name="_ftnref17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[17]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>It was the centre of a large alternative
socialist sub-culture that boasted a Vocal Union and Cycling Club<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn18" name="_ftnref18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[18]</span><!--[endif]--></span></span></a>
among other activities.<span style="mso-spacerun: yes;"> </span>It was also the
only British socialist periodical to run at a profit.<span style="mso-spacerun: yes;"> </span>Its importance to the burgeoning labour
movement in <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region>
cannot be overstated.<span style="mso-spacerun: yes;"> </span>It was part of a
much wider socialist movement than the explicitly Marxist Justice, though the
editors of both shared certain assumptions about the necessity of an
essentially parliamentary roads to socialism in <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>Additionally, after the creation of the
Labour Party at the beginning of the century the section of the labour and
socialist movement that read The Clarion and the working class culture around
the Clarion would become the foundation of the mainstream of Labour culture and
the Labour party while the SDF would eventually split and fracture into small
leftist cliques and factions that remains, to a degree, the current state of
the British far left today.<span style="mso-spacerun: yes;"> </span>So in a
sense, these two periodicals contain between them the seeds of the history of
socialism in Britian for the next century.<span style="mso-spacerun: yes;">
</span>Along with the Yorkshire Factory Times they were both widely read among
trades unionists of what would be called the ‘New Unionism’ that was emerging
in the 1880s, and some of the leading figures in that movement would contribute
to both Journals<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn19" name="_ftnref19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[19]</span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>The study does also take in some other
journals from across the left wing of the political spectrum, the significance
of each will be explained as I come to them.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The purpose of looking at these
periodicals and the other sources from the radical and socialist press that I
have come across is to give voice to an alternative narrative within the
profoundly middle-class popular culture of the day.<span style="mso-spacerun: yes;"> </span>Although by the end of the nineteenth century
illiteracy was rare the majority of what was available for the British worker
to read was made by the middle classes, hence it is their discourses and
anxieties that dominate much of the monstrous imagery of the time.<span style="mso-spacerun: yes;"> </span>To look at the Socialist press is to look at
a body of work which, if not always of the workers is certainly for them in a
way that the mainstream press rarely was.<span style="mso-spacerun: yes;">
</span>Even if the writers and cartoonists that worked for the Socialist press
occupied that same stratum of the petite-bourgeoisie as their colleagues on the
mainstream journals, were at least their professional practice required them to
tap into the sensibilities of the people they were writing for (as I’ll discuss
in the next chapter, artistic creation is partly a social activity, even if
it’s usually conducted alone).<span style="mso-spacerun: yes;"> </span>The
cartoonist Walter Crane may have been a late convert to Socialism from a
respectable middle class background, but the Cartoons he produced every May Day
for Justice would have represented something of the mentality of the movement
he was a part of.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">As I am bringing together two different bodies of
scholarship, I believe that the most appropriate structure for the study is a
three-part dialectic.<span style="mso-spacerun: yes;"> </span>The first part,
(or thesis) will consist of a study of the various theoretical issues of
Teratology and specifically with regards to that period at the end of the
nineteenth century.<span style="mso-spacerun: yes;"> </span>As well as surveying
and analysing the various theories I will also attempt to establish a context
within the progression of monstrous discourses over the decades since the
enlightenment.<span style="mso-spacerun: yes;"> </span>The second part of the
study will be concerned with the material basis of the production, and distribution
of popular literature in the Fin De Siecle, the intellectual climate in which
the Monstrous images were formed and the social environment in which they were
given meaning.<span style="mso-spacerun: yes;"> </span>Particular attention will
be given in this section to the struggles of the Working classes and the social
anxieties they unleashed.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 18.0pt;">
<span style="font-family: "verdana" , sans-serif;">Finally I will bring these two parts to a synthesis in the
study of the monstrous imagery in the period.<span style="mso-spacerun: yes;">
</span>Doing so will hopefully allow me to answer the questions alluded to
above, contribute some empirical validity to the theoretical concerns already
outlined, and some new theoretical questions into the history writing on the
period.<span style="mso-spacerun: yes;"> </span>In addition, this should point
towards potential studies that could be undertaken, on monstrous depictions of
gender and race for example, and into a more sophisticated theoretical approach
to monsters in general across all periods and cultures.<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span>
<br />
<h1 align="center" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: small;">Chapter 1</span></h1>
<h1 align="center" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: small;">Towards a Theory of Monsters<o:p></o:p></span></h1>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">“Monsters
are our children… (They) ask us how we perceive the world… They ask us why we
have created them.”<o:p></o:p></span></div>
<div style="text-align: right;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "tahoma"; mso-bidi-font-size: 12.0pt;"><b>J.J. Cohen</b></span><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn20" name="_ftnref20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="font-family: "tahoma";"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b>[20]</b></span><!--[endif]--></span></span></a></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>In today’s society, Monsters are
everywhere.<span style="mso-spacerun: yes;"> </span>I have lost track of the
number of times an unusual or extraordinary event or coincidence related to
monsters occurred during the completion of this dissertation. When I began
thinking about monsters from a social-scientific perspective in the summer of
2005, after seeing China Miéville’s lecture at Marxism 2005, it seems I truly
underestimated the relevance of Monsters and the monstrous to our daily
lives.<span style="mso-spacerun: yes;"> </span>However, whether it was a group
of monsters winning the Eurovision Song Contest, running across an image of
Boris Karloff as ‘Frankenstein’s Monster’ on the back of an otherwise unrelated
pamphlet while conducting research at the Working Class Movement Library in
Salford<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn21" name="_ftnref21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[21]</span><!--[endif]--></span></span></a>
or the numerous Hollywood blockbusters over the summer,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn22" name="_ftnref22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[22]</span><!--[endif]--></span></span></a>
since beginning this project my consciousness feels like it has been inundated
with a slew of monstrous imagery from the broadcast media. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Looking back into history, it would
appear that monsters have been a part of the imaginative life of every human
society in recorded history.<span style="mso-spacerun: yes;"> </span>As such it
seems extremely unusual that very little work has been done on addressing
monsters as a category in order to understand their significance within
society.<span style="mso-spacerun: yes;"> </span>The study of Monsters is an
area of academia that is still very much in its infancy, indeed it has yet to
be established if as a field of study in its own right.<span style="mso-spacerun: yes;"> </span>The name ascribed to it, Teratology,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn23" name="_ftnref23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[23]</span><!--[endif]--></span></span></a>
doesn’t even appear to be used by everyone arguably working in the field.<span style="mso-spacerun: yes;"> </span>Presently, there has been one book of essays
published specifically on this topic in 1996<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn24" name="_ftnref24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[24]</span><!--[endif]--></span></span></a>
and a small group who have been staging an annual conference on monster studies
under the auspices of the interdisciplinary research board since 2001.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn25" name="_ftnref25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[25]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The contributors to the book and the
conference speakers are from a variety of academic disciplines and some are
from outside of academia.<span style="mso-spacerun: yes;"> </span>Few of them
could be said to specialise in monsters, rather the monstrous is merely
something they have come across in their research.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn26" name="_ftnref26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[26]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span lang="EN-US" style="font-family: "verdana" , sans-serif; font-weight: normal;"><span style="mso-tab-count: 1;"> </span>Whether
the study of monsters ever extends beyond these tenuous beginnings isn’t, in
the strictest sense, relevant to this study.<span style="mso-spacerun: yes;">
</span>The aim here is to come up with a theory of the monster and demonstrate
how it can be useful in understanding certain phenomena in social and cultural
history.<span style="mso-spacerun: yes;"> </span>What the study of monsters
offers us is a way into the unconscious thoughts and feelings of a particular place
or period and a way into the taboo and repressed strata of groups, classes and
(when looking at the foibles of the ruling class) whole societies.</span><br />
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US" style="font-weight: normal;"><br /></span><span lang="EN-US" style="font-weight: normal;">Within
the social discourses by which a society (or grouping within society) seeks to
understand itself, there is a discourse of the imaginative or irrational that
both underlies and supports it.<span style="mso-spacerun: yes;"> </span>This
discourse is formed from he detritus of the rational discourses that are at the
forefront of how society conceives of itself.<span style="mso-spacerun: yes;">
</span>It is constituted from the unspoken assumptions, the repressed logical progressions
and the inherent implications of the rational discourses and the bits of
nonsense used to justify the unjustifiable.<span style="mso-spacerun: yes;">
</span>While what I would call ‘the rational discourse’ expresses itself as
science, pseudo-science, social theory and in the news media, i.e. that which
is meant to be the truth, the irrational discourse expresses itself in the self
consciously fictive; within narratives in the popular entertainment media and
inside the imagery used to illustrate the rational discourse.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn27" name="_ftnref27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[27]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Monsters<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn28" name="_ftnref28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[28]</span></span><!--[endif]--></span></span></a>
are both, by their nature, fictive and a rich source of rhetorical imagery,
therefore they can be said to be almost at home within what I call ‘the
irrational discourse’.<span style="mso-spacerun: yes;"> </span>To be precise,
they embody a very specific rendering of, ‘the other’ i.e. that which society
likes to represent itself in opposition to and apart from.</span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US" style="font-weight: normal;"><br /></span><span style="mso-tab-count: 1;"> </span>The practical implications for
historians are that a better understanding of monsters and the monstrous can
lead to a better understanding of previously discounted sources and other
materials that would be considered as outside the purview of the profession,
such as pulp horror fiction<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn29" name="_ftnref29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[29]</span><!--[endif]--></span></span></a>,
sources that may seem too strange or specifically cultural to be of notice<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn30" name="_ftnref30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[30]</span><!--[endif]--></span></span></a>
and even perhaps the process wherebye a historical figure like Napoleon Bonaparte
becomes transubstantiated into a sort of monster through the medium of popular
culture.<span style="mso-spacerun: yes;"> </span>Also, as we are nudging up
against the adjoining fields of Cultural Studies, Social Anthropology,
Sociology and arts criticism there is an inherent potential in the study of
monsters for interdisciplinary work and the cross cultivation of ideas from
different disciplines.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>By dealing with this particular aspect
of human culture, i.e. with images that are self consciously fictive we can get
into the process of creative thought and possibly the changes that this has
undergone in history, as well as the ways in which this doesn’t change, in
order to understand those people who have gone before us at an ontological
level.<span style="mso-spacerun: yes;"> </span>After all, one of the goals of
history in general is to make our ancestors intelligible to us.<span style="mso-spacerun: yes;"> </span>Too often it seems that our contemporaries
regard people in the past as alien, to the detriment to our understanding of
ourselves, while in reality they are more like foreigners, people with a
different language and set of cultural assumptions but people like ourselves
nonetheless.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Also, since by looking at monsters we
are looking at how people conceive of ‘the other’, we can extend this to
cultural phenomena wherein an understanding of the treatment of groups of
Others by a dominant group is crucial.<span style="mso-spacerun: yes;">
</span>My previous work on the whole process of colonialism and the conquest
and treatment of colonial subjects is one example of how an understanding of
the role of the irrational discourse can yield insights into how things like
horror literature can work to support and sustain more conventional forms of
cultural power, while exposing the underlying taboo emotions of the
colonisers.<span style="mso-spacerun: yes;"> </span>Another, not unrelated, area
where an understanding of monsters could prove quite useful in this way would
be the history of Anti-Semitism.<span style="mso-spacerun: yes;"> </span>The use
of monstrous and ab-human imagery in Anti-Semitic propaganda would seem to
indicate that the racial construction of Jews in various societies in the early
20<sup>th</sup> century was also a monstrous construction, and certainly many
writers have indicated anti-Semitic threads in the construction of various
figures in popular horror, e.g. Dracula<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn31" name="_ftnref31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[31]</span><!--[endif]--></span></span></a>
and Svengali.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn32" name="_ftnref32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[32]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The sort of theory that could
elucidate these issues would be a theory of monsters that could explain
monsters in art-horror and within the wider culture and could explain these in
relation to each other and the wider social-cultural context.<span style="mso-spacerun: yes;"> </span>It could explain how (and perhaps why)
monsters are created, the sort of materials that go into their creation and why
certain monsters succeed over others, come in and out of fashion and fade
away.<span style="mso-spacerun: yes;"> </span>It would also explain the way in
which monsters act and interact within the media.<span style="mso-spacerun: yes;"> </span>To date there has not been a theory put
forwards in as many words that is quite like what has been outlined above.<span style="mso-spacerun: yes;"> </span>Several people have grappled with different
aspects of Monsters and the monstrous but usually in isolation and without
reference to anyone else’s work.<span style="mso-spacerun: yes;"> </span>To date
no one has tried to put these elements together to make a consistent
whole.<span style="mso-spacerun: yes;"> </span>What follows now is my own
attempt at this through examining the available works on monsters and related
genres for what basic insights they provide and putting them together with some
analysis of my own.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">We begin with two works that relate to the subject of
Monsters that are from a consciously Marxist theoretical background In
Frankenstein’s Shadow: Myth, Monstrosity and Nineteenth century Horror Writing
by Chris Baldick and José Monleón’s A Spectre Is Haunting Europe: A Sociohistorical
Approach to The Fantastic.<span style="mso-spacerun: yes;"> </span>What both
these books have in common is an approach based on relating the trends within
the horror genre to the prevailing contemporary economic and social
circumstances, particularly with regards to the progress of industrial
capitalism.<span style="mso-spacerun: yes;"> </span>Both are quite excellent
works of literary analysis, the main difference between the two being that
while Baldick has a more Empiricist bent<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn33" name="_ftnref33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[33]</span><!--[endif]--></span></span></a>
and bases a lot of his arguments on textual analysis, Monleon is more
consciously theoretical.<span style="mso-spacerun: yes;"> </span>Neither work
offers a specific theory of monsters or how monsters come into being, but
Baldick offers quite an interesting analysis of the etymology of the word
monster in the context of the Enlightenment, which I will return to later.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>There is also another body of inquiry
into the Horror genre that locates itself within a religious tradition.<span style="mso-spacerun: yes;"> </span>This is not surprising as both the Horror
genre and religion share a common concern with the irrational.<span style="mso-spacerun: yes;"> </span>Victor Sage’s book Horror Fiction in the
Protestant Tradition is an exploration of the development of the gothic horror
genre in relation to wider developments, particularly those within
Anglo-Protestant theology. The book has much in common with the two Marxist
texts in that the basic methodology is to relate the development of the Horror
Genre to the development of capitalism.<span style="mso-spacerun: yes;">
</span>The main difference is that the theory of social development
underpinning the text comes from Weber rather than Marx.<span style="mso-spacerun: yes;"> </span>Again, Sage doesn’t offer any theory of
Monsters, but he has a deep knowledge of the Anglo protestant tradition that
many of the leading horror authors of the period themselves were a part of and
as such provides certain insights into the philosophical concerns they would
have engaged with.<o:p></o:p></span></div>
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<a href="https://3.bp.blogspot.com/-ZWPMLA_5k04/Wt-Vqh-JbKI/AAAAAAAACbQ/4i3LFW-WVvAOE7O5C9GGF0T1Hnnz9dVXwCEwYBhgL/s1600/monsterad.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="270" data-original-width="183" height="320" src="https://3.bp.blogspot.com/-ZWPMLA_5k04/Wt-Vqh-JbKI/AAAAAAAACbQ/4i3LFW-WVvAOE7O5C9GGF0T1Hnnz9dVXwCEwYBhgL/s320/monsterad.jpg" width="216" /></span></a></div>
<span style="font-family: "verdana" , sans-serif;">Another book on Monsters written from a self-consciously religious perspective, and one of the most interesting and unusual books available on the subject, is E. Michael Jones’s monograph, Monsters From The Id. Jones writing and theoretical approach makes for fascinating reading because it combines elements of Freud’s theory of the unconscious with a Roman Catholic conservative world-view. It is important to note that the authors’ background is not in academia but in the world of right wing political activism, mainly through the medium of the Internet. Since the time of writing this thesis he has gained some traction with the alt-right (with which his anti-modernist outlook chimes) and has written a long anti-Semitic history of Judaism in the west. He has a YouTube channel and <a href="https://www.youtube.com/watch?v=9b0ztpS1gaM">his take on The Shape of Water</a> is fascinating. It is quite clear that he is a Cultural Marxist, or at least his methodology is identical to those on the left and post modern end of academia, even if his values are an inversion of those working consciously from that perspective. This earlier book is as much a tract as a theoretical study and has much in common with the writings of Paul Johnston, another American Catholic/Conservative writer who seems to regard the Enlightenment as the greatest tragedy in human history. The core argument common to both Jones and Johnston is that the Enlightenment created a rift between humanity and the natural order.[34] No longer following the path laid down by God leads us to guilt and sin, and thus the horror genre emerges from a sublimated sense of sin and guilt. He even proposes in the introduction to the book that the adoption of certain Christian themes in mainstream Hollywood horror films from around the time the book was written suggests a coming reconciliation with religion in America and the end of the horror genre.</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The 1990s also saw some very
interesting work being done on monsters and the horror genre from within
academia.<span style="mso-spacerun: yes;"> </span>The first of these to be
published was Noel Carroll’s<span style="mso-spacerun: yes;"> </span>The
Philosophy of Horror, or Paradoxes of the Heart<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn35" name="_ftnref35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[35]</span><!--[endif]--></span></span></a>.
The focus of the book was more on the intricacies of the horror genre in
general than on monsters. The Author describes it as an attempt to do for
Horror what Aristotle had done for Tragedy in Poetics, i.e. to: <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">offer a comprehensive account…in terms of the effect it is
supposed to bring about… with respect to the elements, particularly plot
elements, that facilitate this effect.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn36" name="_ftnref36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[36]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">In the
terms of these plot elements, Carroll puts monsters at the heart of the
genre.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Carroll identifies two characteristic horror narratives
that, define the genre, variations of which account for the majority of
Art-Horror narratives within popular culture: the Complex Discovery Plot, and
the Over-reacher plot.<span style="mso-spacerun: yes;"> </span>In the former,
the action is broken down into all (or a combination) of the following four
elements; the onset of the supernatural menace, the discovery of the
supernatural nature of said menace by the protagonists, the confirmation of the
supernatural by the protagonists to a third party<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn37" name="_ftnref37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[37]</span><!--[endif]--></span></span></a>
and finally the confrontation of the supernatural menace.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn38" name="_ftnref38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[38]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>In the Over-reacher plot the action can also
be broken down into four plot movements, the preparation for the experiment,
the experiment, the accumulation of evidence that the experiment has gone awry,
and the confrontation with the result of the experiment.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn39" name="_ftnref39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[39]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Within these two structures we can clearly
see that in both cases the monster is the engine of the plot.<span style="mso-spacerun: yes;"> </span>The Complex Discovery is essentially the
discovery of the Monster and the Over-reacher’s experiment typically, via
design or misfortune, tends to result in the creation of a monster.<span style="mso-spacerun: yes;"> </span>According to Carroll, the essential
difference between the two types of plot is the way that information that would
be considered outside conventional knowledge is treated.<span style="mso-spacerun: yes;"> </span>To be precise, in the Complex Discovery Plot,
hidden knowledge is often necessary for the monster to be defeated while the
Over-reacher plot is usually a cautionary tale about the dangers of trying to
access ‘that which man is not meant to know’.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn40" name="_ftnref40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[40]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This is related to Carroll’s notion of the
monster as something that violates standing categories.<span style="mso-spacerun: yes;"> </span>In other words, we could say that Carroll’s
theory of Teratology, the creation of the monster, hinges on the point at which
some problematic occult knowledge erupts into the real.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Jeffery Jerome Cohen takes up this point in the opening
essay of Monster Theory: Reading Culture,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn41" name="_ftnref41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[41]</span><!--[endif]--></span></span></a>
indeed “The Monster is the Harbinger of Category Crisis” is the third of the
titular, “Seven Thesis”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn42" name="_ftnref42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[42]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Cohen doesn’t really add much to what Carroll
has already put forward on this subject, but the other six theses add layers of
analysis towards a more general theory of monsters that goes beyond Carroll’s
concern with horror and towards a wider analysis of monsters as they function
within society at large.<span style="mso-spacerun: yes;"> </span>Basically,
Cohen’s aim in the essay is to present, “a set of breakable postulates in
search of specific cultural moments…seven theses toward understanding cultures
through the monsters they engender”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn43" name="_ftnref43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[43]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Cohen’s theses are the only attempt of the sort that I’ve
come across and form the ‘jumping off’ point for my own discussion.<span style="mso-spacerun: yes;"> </span>As such it is worth going over each of his
theses in turn.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The first is that, “The Monster’s Body is a Cultural Body”,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn44" name="_ftnref44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[44]</span><!--[endif]--></span></span></a>
which is to say that since a monster is wholly fictional it is purely
constructed of cultural elements.<span style="mso-spacerun: yes;"> </span>The
Second is “The monster Always Escapes”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn45" name="_ftnref45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[45]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>While this is obviously not literally true of
all the monsters in all the horror narratives ever recorded, what Cohen means
is that, the cultural form of the monster is an enduring form of cultural
signifier that has a life beyond whatever cultural form it takes.<span style="mso-spacerun: yes;"> </span>Dracula may have been destroyed at the end of
the novel, yet he rises again in each subsequent generation and in every new
medium since his inception to embody some cultural anxiety.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The fourth Thesis is that “The monster dwells at the gates
of difference”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn46" name="_ftnref46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[46]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Cohen gives this notion some attention,
rightly emphasising the idea of the monster as, “the dialectical Other, …an
incorporation of the Outside, the Beyond-of all those loci that are
rhetorically placed as distant and distinct but originate Within”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn47" name="_ftnref47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[47]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The Fifth Thesis is also related to this idea
of the monster as a sort of cultural arbiter of what is and isn’t considered
normal.<span style="mso-spacerun: yes;"> </span>This is the thesis, “The Monster
Polices the Borders of the Possible”.<span style="mso-spacerun: yes;">
</span>What this means is that the monster is commonly associated with that
which is beyond the pale of human knowledge, and not just in he obvious way that
monsters tend to punish transgression.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn48" name="_ftnref48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[48]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Cohen also cites the original Werewolf legend
in western Mythology, the story of King Lycaon from Ovid’s Metamorphosis who is
turned into a werewolf for transgressing the bounds of hospitality, and the
Dragons and Leviathans painted into the blank spaces on trader’s maps of the
ancient world.<span style="mso-spacerun: yes;"> </span>He also emphasises the
association between this aspect of monstrosity and miscegenation, citing as
examples monsters from the Old Testament, The Tempest and Jane Eyre.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn49" name="_ftnref49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[49]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The Sixth Thesis is that the, “Fear of the
Monster is really a kind of desire”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn50" name="_ftnref50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[50]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This is an attempt to articulate the
seemingly paradoxical nature of monsters and horror in general, what Carroll
calls in the sub-title of his monograph ‘the paradox of the heart’.<span style="mso-spacerun: yes;"> </span>This is the way in which the monstrous both
attracts and repels, the reason why we keep coming back to horror.<span style="mso-spacerun: yes;"> </span>The emphasis here is in relation to the last
two Theses concerning social and cultural barriers. The taboo and forbidden is
also exotic and attractive and monsters, being the embodiment of the Other are
therefore in the envious position of having the liberty to do what cannot be
done within our own society.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Finally, the seventh thesis is that, “The Monster stands at
the threshold of becoming”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn51" name="_ftnref51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[51]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This isn’t so much a thesis as a summation of
the other six and confirmation of the potential of monsters to raise questions
about all aspects of the social order.<span style="mso-spacerun: yes;">
</span>What Cohen means is basically that the monster, by having a cultural
body, by always escaping and by transgressing the social order and punishing
those who transgress, has the potential to raise questions about all these
things.<span style="mso-spacerun: yes;"> </span>“Monsters are our children”, he
says, “they ask us why we have created them”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn52" name="_ftnref52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[52]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Another book from around the same time
that also raises and attempts to deal with these issues in Judith Halberstam’s Skin
Shows: <span lang="EN-US">Gothic Horror and the Technology of Monsters.<span style="mso-spacerun: yes;"> </span>Although she doesn’t lay out any theory of
monsters with the range of Cohen’s essay, she does seem to put into practice
the sort of sophisticated and complex understanding of monsters within their
cultural and social context.<span style="mso-spacerun: yes;"> </span>What she
does do that Cohen doesn’t, is describe specifically how monsters work, the
titular technology of monstrosity.<span style="mso-spacerun: yes;">
</span>Leading on from her analysis of how Dracula embodies several, even self
contradictory social anxieties about race, gender class and sexuality, she says
the following;<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US">…the
monster’s body is a machine that…produces meaning and can represent any
horrible trait…The monster functions…when it is able to condense as many fear
producing traits as possible into one body<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn53" name="_ftnref53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[53]</span></span><!--[endif]--></span></span></a>.</span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>I think that that is an extremely
important point, one that is central to my own understanding of what monsters
are and how they actually function.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The theory of monsters that I wish to
develop will be essentially an attempt to reconcile what I feel to be the best
aspects of the theory of monsters in the work done by Carroll, Cohen and
Halberstam in the 1990s with the contextual awareness of the earlier work done
by Monléon and Baldick.<span style="mso-spacerun: yes;"> </span>The whole Marxist
perspective on culture and cultural history seems to have been under-utilised
as a source for the conceptual toolbox, which isn’t surprising considering that
the idea of Monster Theory has arisen since Marxism was ousted from theoretical
orthodoxy by the post-modernism during the downturn.<span style="mso-spacerun: yes;"> </span>This is something I wish to rectify.<span style="mso-spacerun: yes;"> </span>As we have seen above, the study of Monsters
is the study of how society deals with those it wishes to ostracise and
dispossess, monstrification is a form of cultural oppression.<span style="mso-spacerun: yes;"> </span>These questions of cultural and political
power are questions that Marxists have always tried to grapple with, so I have
no doubt that this specific iteration of these issues is something that can be
enriched by drawing on the intellectual legacy of the
Marxist/Dialectic-Materialist approach, from Marx himself through Bakhtin’s
circle in Soviet Russia, The Frankfurt School and Walter Benjamin and the
post-war British Marxists Raymond Williams and Terry Eagleton.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Teratology, as established so far, hinges
on an epistemological issue of the transmission of ideas through the culture of
a given society.<span style="mso-spacerun: yes;"> </span>Therefore, in the next
chapter I will be developing my theory of teratology through an analysis of the
material conditions from which monsters arise, i.e. the labour that is involved
in creating things for the mass media and the sort of processes this
engenders.<span style="mso-spacerun: yes;"> </span>I will also be looking at
these processes in relation to a specific period, the analysis of which I feel
best demonstrates how my theory works in practice, which is <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region> in the
Fin De Seicle.<span style="mso-spacerun: yes;"> </span>This will then be
followed up in the next chapter with an analysis of the teratology of that
period, and specifically in relation to the class struggle, again because I
feel that this, among the many of the issues of the day, will demonstrate the
potential of the theory.<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-R7bBS7mk6gE/Wt-diTQfUPI/AAAAAAAACdY/E6VdO-w3ZQUnCqpBcG8qAuN1n0107EfIgCEwYBhgL/s1600/100_0227.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="1247" data-original-width="1600" height="311" src="https://2.bp.blogspot.com/-R7bBS7mk6gE/Wt-diTQfUPI/AAAAAAAACdY/E6VdO-w3ZQUnCqpBcG8qAuN1n0107EfIgCEwYBhgL/s400/100_0227.jpg" width="400" /></span></a></div>
<div class="MsoTitle" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><b><br /></b></span></div>
<div class="MsoTitle" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><b><br /></b></span></div>
<div class="MsoTitle" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><b>Chapter 2<o:p></o:p></b></span></div>
<div class="MsoTitle" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><b>The
Monstrous Mode of Production</b><o:p></o:p></span></div>
<div class="MsoTitle">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoTitle" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-weight: normal;">“It is beginning,…<span style="mso-spacerun: yes;"> </span>for better or worse, the twentieth
century.<span style="mso-spacerun: yes;"> </span>I have delivered it.”<o:p></o:p></span></div>
<div class="MsoTitle" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-weight: normal;"><br /></span></div>
<div align="right" class="MsoTitle" style="text-align: right;">
<span style="font-family: "verdana" , sans-serif;">-<b>Jack The Ripper in From Hell by Alan Moore</b><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn54" name="_ftnref54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;">[54]</b></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">From our
study of the various theoretical approaches to the Monster in the previous
chapter it should now be apparent that monsters are connected to social
anxieties.<span style="mso-spacerun: yes;"> </span>In this chapter I will be
considering the epistemological issue of how monsters were formed within the
specific context of late nineteenth century <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>This is the period that has been chosen for
my investigation because it sees the congruence of momentous historical forces,
the great themes of Imperialism, scientific progress and ideology working
themselves out on the world-stage with a confidence that was rarely seen before
or since.<span style="mso-spacerun: yes;"> </span>It is also the time that sees
great developments within the creative field, the development of the science
fiction and horror genres into something fast approaching their recognisable
contemporary form and, of course, the creation of many of the great monster
narratives of the next hundred years.<span style="mso-spacerun: yes;"> </span>In
other words, this period at the end of the nineteenth century is the crucible
out of which would be formed both the reality and the imaginative world of the
twentieth century.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="font-family: "verdana" , sans-serif;">To
understand how these monsters erupt onto the scene at the end of the nineteenth
century we need to look at the origins of horror and monster literature in the
Enlightenment.<span style="mso-spacerun: yes;"> </span>The importance of the
Enlightenment as a paradigmatic shift in western culture and its significance
to the subsequent development of monsters seems to be the only unifying feature
common to all the various threads of monster theory.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn55" name="_ftnref55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[55]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>What the Enlightenment actually was and the
precise nature of its effects are quite a hotly debated topic and are certainly
too broad to be settled here.<span style="mso-spacerun: yes;"> </span>What we
can say in the context of the present debate is that it created a certain
cultural space, that hadn’t existed before, which allowed for the development
of the horror and science fictional genres and by extension the monsters which
they begat.<span style="mso-spacerun: yes;"> </span>Monleón describes the
process as the articulation of a discourse of ‘Reason’ by the emergent bourgeois
class as it overthrew the old feudal order.<span style="mso-spacerun: yes;">
</span>This resulted in the rhetorical and literal marginalisation of
‘Unreason’,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn56" name="_ftnref56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[56]</span><!--[endif]--></span></span></a>
which would return through the gothic literature that developed at the same
time.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn57" name="_ftnref57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[57]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Katherine Haltunnuen adds that the
development of the genre of Murder literature within cheap popular literature
also coincided with the decline of the clerical monopoly over the discourse of
murder and the shift from a pre-Enlightenment notion of personal and general
evil into the concept of the objectified ‘evil’ Other.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn58" name="_ftnref58" style="mso-footnote-id: ftn58;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[58]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Also, as Chris Baldick points out, it is precisely at
this time that the word “Monster” takes on its modern connotations.<span style="mso-spacerun: yes;"> </span>Monster comes from the same Latin root as
demonstrate and (as Foucault mentions in Madness and Civilisation<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn59" name="_ftnref59" style="mso-footnote-id: ftn59;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[59]</span></span><!--[endif]--></span></span></a>)
until this period is something or someone that is to be shown.<span style="mso-spacerun: yes;"> </span>This is how William Shakespeare uses the
word, though even in the early seventeenth century it is already picking up the
connotation of ingratitude, particularly the ingratitude of children towards
their parents<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn60" name="_ftnref60" style="mso-footnote-id: ftn60;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[60]</span></span><!--[endif]--></span></span></a> (which
would have carried obvious political connotations in a patriarchal state).<span style="mso-spacerun: yes;"> </span>In the context of the French Revolution, it
is these elements which are picked up on by conservative commentators in <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region>,
particularly Edmund Burke, to be deployed in their discourses around the
revolution.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn61" name="_ftnref61" style="mso-footnote-id: ftn61;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[61]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US">It is this imagery that is then transposed by Mary
Shelley (who was both the daughter of Enlightenment radicals and a significant
late Enlightenment thinker in her own right) into the nexus of allegories that
was to become her most famous novel, Frankenstein.<span style="mso-spacerun: yes;"> </span>This book is widely regarded as the beginning
of the modern Horror and Science Fictional genres and the foundation of one of
the great Myths of the modern age.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn62" name="_ftnref62" style="mso-footnote-id: ftn62;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[62]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The reason why </span>Frankenstein is a turning point for the Monster, and
for western art in general, is that it is the first example of a monster coming
together in a modern setting.<span style="mso-spacerun: yes;"> </span>It isn’t a
monster whose features are drawn together from out of the folklore of the
pre-industrial popular culture,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn63" name="_ftnref63" style="mso-footnote-id: ftn63;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[63]</span><!--[endif]--></span></span></a>
but a consciously created thing that takes its moral and existential philosophy
directly from the radical background of the author.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn64" name="_ftnref64" style="mso-footnote-id: ftn64;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[64]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>In essence, we are no longer talking about
popular mythology originating in the organic morass of a folk tradition, where
stories are told, worked and re-worked in endless repetition across various
media.<span style="mso-spacerun: yes;"> </span>Rather, this is the beginning of
the modern mode of literary production where these stories originate from the
interaction of persona and social elements within a single identifiable
author.<span style="mso-spacerun: yes;"> </span>This was the first time someone
had brought together disparate elements, in this case; Enlightenment
philosophy, Gothic novel-writing, galvanism, anatomic investigation by medical
students (and the associated horrors of the resurrection men) and crafts a new
myth out of them.<span style="mso-spacerun: yes;"> </span>The first time indeed,
but this is how it will be done from now on.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Although
it would be a century before the term was invented<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn65" name="_ftnref65" style="mso-footnote-id: ftn65;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[65]</span><!--[endif]--></span></span></a>,
Frankenstein was the first science fiction novel.<span style="mso-spacerun: yes;"> </span>The defining feature of Science fiction,
which makes Frankenstein different to the popular fantastic fiction that was
available and widely distributed in the preceding three centuries or so<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn66" name="_ftnref66" style="mso-footnote-id: ftn66;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[66]</span><!--[endif]--></span></span></a>,
was that it was speculative.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn67" name="_ftnref67" style="mso-footnote-id: ftn67;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[67]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>It’s themes were based around the
possibilities inherent in the present.<span style="mso-spacerun: yes;">
</span>It is this thematic concern with possibility that continues through the
mid century writers, for example Hoffman and Edgar Allen Poe, into the period
under consideration. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="font-family: "verdana" , sans-serif;">In the
late Victorian period, there is a huge expansion in the writing of this
sort.<span style="mso-spacerun: yes;"> </span>This is related to <span lang="EN-US">a
perceptible shift in the production and distribution of literature in the 1880s
and 90s.<span style="mso-spacerun: yes;"> </span>The reading public, who had
been increasing incrementally over the previous two centuries, suddenly
expanded as the business of writing and selling books, magazines and other
forms of literary culture was revolutionised.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn68" name="_ftnref68" style="mso-footnote-id: ftn68;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[68]</span></span><!--[endif]--></span></span></a></span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">This explosion in the consumption and production of
writing was facilitated by a number of factors.<span style="mso-spacerun: yes;">
</span>Firstly there were technological advances in the mechanisation of
printing as well as more efficient paper making processes.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn69" name="_ftnref69" style="mso-footnote-id: ftn69;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[69]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Also, the repeal of Stamp Tax in 1855 and
Paper Duty in 1860 had removed one non-material barrier to the mass production
of paper<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn70" name="_ftnref70" style="mso-footnote-id: ftn70;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[70]</span></span><!--[endif]--></span></span></a> and
encouraged a great expansion of the News Paper industry that had also been
gathering pace by degrees over the preceding centuries.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US">The main factor however, as perceived at the time, was
the education acts of the 1870-90s, which gradually introduced universal
primary education.<span style="mso-spacerun: yes;"> </span>Literacy had been
increasing by </span>steadily<span lang="EN-US">
over the proceeding centuries<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn71" name="_ftnref71" style="mso-footnote-id: ftn71;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[71]</span></span><!--[endif]--></span></span></a>,
but the acts expanded the reading public to an extent unheard of, creating for
the first time a literate reading public.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn72" name="_ftnref72" style="mso-footnote-id: ftn72;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[72]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US">Another factor that had revolutionised the consumption
of literature was the mass transit system. The rail networks provided short
intervals of time when the urban commuter could snatch a little reading
time.<span style="mso-spacerun: yes;"> </span>It was soon recognised that the
commuter was an important market for publishers, as near to a captive audience
as one could wish for, hence bookshops and stalls were opened in railway
stations (this is how the high street chain WH Smiths began<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn73" name="_ftnref73" style="mso-footnote-id: ftn73;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[73]</span></span><!--[endif]--></span></span></a>).</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">All this
had quite a profound effect on the way literature was produced and
consumed.<span style="mso-spacerun: yes;"> </span>The ‘Triple Decker’ format of
novel writing, in which novels would be published in three volumes each a book
in its own right, that had predominated in the publishing industry since the
mid-century gave way to shorter, single volume novels.<span style="mso-spacerun: yes;"> </span>Prior to the 1880s books were much too
expensive to be bought as consumer items by all but the wealthiest.<span style="mso-spacerun: yes;"> </span>People tended to join private lending
libraries for a subscription fee, but with the advent of the literary
revolutions of the Fin de-seicle book buying was suddenly a viable option, even
for people on a modest disposable income.<span style="mso-spacerun: yes;">
</span>This also had a knock-on effect of revolutionising power relations
within the publishing industry.<span style="mso-spacerun: yes;"> </span>As
readers had had to borrow from whatever stock the circulating libraries had,
the people who controlled what was available for the majority of people in <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region> to read
were the buyers, who were often of distinctly conservative tastes.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn74" name="_ftnref74" style="mso-footnote-id: ftn74;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[74]</span></span><!--[endif]--></span></span></span></a> Also, as magazines became more
popular with the reading public publishers were able to issue serialised
novels.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Both these
developments helped contribute to the explosion in monster literature.<span style="mso-spacerun: yes;"> </span>The ‘Triple Decker’, as a format is much more
suited to the naturalistic school of writing, for instance the family saga was
a common theme.<span style="mso-spacerun: yes;"> </span>The shorter
self-contained novel was much better suited to the genres driven by their ideas
rather than their precise prose, i.e. where the narrative content has priority
over the form.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Another
effect of the consumption of literature through magazines was the great
expansion of a literary format hitherto largely overlooked in <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region>, the
short story.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn75" name="_ftnref75" style="mso-footnote-id: ftn75;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[75]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>If the shorter novel was more conducive to
the writing in the genres that most typically contain monsters, the short story
is a match made in heaven.<span style="mso-spacerun: yes;"> </span>The short
story has been described as the perfect medium for speculative fiction, the
purest form in which it can be written as it gives enough space to expound and
develop a single idea.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Another
effect of these shifts in the productive relations in the publishing industry
was the professionalisation of writing as a form of labour.<span style="mso-spacerun: yes;"> </span>The writer, as a professional, was moving
away from his status as gentleman-scholar and was, to a degree,
proletarianised,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn76" name="_ftnref76" style="mso-footnote-id: ftn76;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[76]</span><!--[endif]--></span></span></a>
although, as a form of labour, writing is actually closer to a Petty-Bourgeois
profession.<span style="mso-spacerun: yes;"> </span>What this amounted to was
the advent of the writer who was effectively a small producer, someone who
wrote to order and in recognised forms with the literary market in mind.<span style="mso-spacerun: yes;"> </span>This infuriated the existing generation of
writers who were very much influenced by Matthew Arnold’s Culture and Anarchy
and based the validity of their profession on the ideal of literature as having
an improving mission.<span style="mso-spacerun: yes;"> </span>Essentially the
complaint, as voiced for example by George Gissing in his novel New Grub Street,
which chronicled many of these changes from within the profession, was that the
sort of writing typical of the late Victorian mode of literary production
didn’t contribute anything new. The character Jasper Milvain in <st1:street w:st="on"><st1:address w:st="on">New Grub Street</st1:address></st1:street>
exemplifies the new writer.<span style="mso-spacerun: yes;"> </span>He describes
his working process thus;<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">From five
to half past I read four news papers and two magazines, and from half past to
quarter to six I jotted down several ideas that had come to me while reading.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn77" name="_ftnref77" style="mso-footnote-id: ftn77;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[77]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">This
critique comes from a concept of literary value as stemming from the writers’
creativity and originality, from accessing through their art the platonic realm
of forms.<span style="mso-spacerun: yes;"> </span>On the other hand, the writing
that the new generation of writers produces comes from other writers – the
shuffling together of pre-existing elements in the culture.<span style="mso-spacerun: yes;"> </span>As such it is completely ephemeral.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Leaving
the value judgements aside, the phenomenon observed here was very real.<span style="mso-spacerun: yes;"> </span>Although derided by some of their
contemporaries the way we might refer to certain writers today as ‘hacks’,
today’s post-modern age would seem to look more favourably on these writers.<span style="mso-spacerun: yes;"> </span>They are also useful for us as historians to
look at because their work represents a very specific form of social
epistemology.<span style="mso-spacerun: yes;"> </span>By merely skimming the
surface of their culture to sift the most readily available elements, i.e.
those that are ubiquitous enough to be readily recognisable to their target
audience, these writers tap directly into the milieu and the common assumptions
and neurosis that constitutes the mentality of their time and culture.<span style="mso-spacerun: yes;"> </span>What is written on the spur of the moment
will give us better idea of what was foremost in the collective consciousness
than something that some great artist has slaved over and may well just be
representative of his own idiosyncraticies.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">This
reflection and re-constitution of other writing and the conscious marketing of
specific types of literature also led to the development and refinement of the
various genre as we know them today in this period.<span style="mso-spacerun: yes;"> </span>We can see a recurring pattern in how the
genres develop, beginning with the works of a few popular and successful
innovators, (e.g. Conan Doyle’s Sherlock Holmes stories in The Strand or
Erskine Childers’ The Riddle of The Sands which began the Spy Thriller
genre).<span style="mso-spacerun: yes;"> </span>This is followed by the
imitation of the plot structures, imagery and other features of the works of
the originators of the genre.<span style="mso-spacerun: yes;"> </span>Harry
Blythe’s detective fiction for example, featured Sexton Blake, another
metropolitan Private detective who debuted in 1893 after Conan Doyle killed off
Holmes at the Reichenback Falls and later took on many of the tropes and
mannerisms of the Great Detective, such as an address on Baker Street, a
bumbling side-kick and an endearingly working class housekeeper.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn78" name="_ftnref78" style="mso-footnote-id: ftn78;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[78]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Eventually the repeated tropes of the genre
becomes iconic, a set of fixed features around which further development and
innovation can take place that give the fiction a meta-identity and
pre-established audience that it can be marketed towards.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">This is
the process that the science fiction and horror genres are going through in
late Victorian Britain.<span style="mso-spacerun: yes;"> </span>The idea space
inhabited by Science fiction is initially marked out between popular “Science
Romances” of Jules Verne and H.G. Wells, who represent the originators of the
schools of ‘Hard’ and ‘Soft’ science fiction respectively.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn79" name="_ftnref79" style="mso-footnote-id: ftn79;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[79]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Wells in particular was quite amazingly
innovative, creating within a few short years many of what we now recognise as
the typical science fiction themes; Time Travel, Alien Invasion, Invisibility,
to name but a few.<span style="mso-spacerun: yes;"> </span>Horror reappears from
the shadows of the Penny Dreadful, to which it had been consigned by the mid
century vogue for naturalism, through the re-emergence of gothic horror in the
work of John Sheridan Le Fanu.<span style="mso-spacerun: yes;"> </span>Le Fanu’s
gothic horror stories are imitated by many, including Bram Stoker who reused
many of the features of vampire fiction established in Le Fanu’s Carmilla in
his novel Dracula<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn80" name="_ftnref80" style="mso-footnote-id: ftn80;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[80]</span><!--[endif]--></span></span></a>
which establishes many new features of the horror genre and is imitated in turn
by many others. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">To
conclude this section we should understand that the correlation between this
shift in the mode of literary production, and the momentous events on the world
stage of the late Victorian period is no coincidence.<span style="mso-spacerun: yes;"> </span>The shift in the productive relations within
publishing didn’t just facilitate the re-emergence of the Gothic in the late Victorian
period, but were part of the same processes going on in the wider society that
led to the new imperialism, the return of the class struggle and the beginnings
of women’s liberation, all of which would provide inspiration for the thematic
content of the same fantastic literature.<span style="mso-spacerun: yes;">
</span>In the next chapter we will be looking at how the monsters that arose
from these material conditions operated in the culture and how they reveal the
anxieties unleashed by the development of Victorian capitalist society into the
consumer society we have today.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-27SRwqeGo8w/Wt-UrJwirEI/AAAAAAAACa8/JJkaBBNUS5c_FYTv07Uz43DDuChWGvjpACEwYBhgL/s1600/100_0203.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="1334" data-original-width="849" height="400" src="https://4.bp.blogspot.com/-27SRwqeGo8w/Wt-UrJwirEI/AAAAAAAACa8/JJkaBBNUS5c_FYTv07Uz43DDuChWGvjpACEwYBhgL/s400/100_0203.jpg" width="253" /></span></a></div>
<h1 align="center" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: small;">Chapter 3<o:p></o:p></span></h1>
<h1 align="center" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: small;">Monsters in Praxis<o:p></o:p></span></h1>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoBodyText2">
<span style="font-family: "verdana" , sans-serif; font-weight: normal;">“Never-never, in any era,… has the Fantastic flourished so
sinister and so terrifying as in modern life!<span style="mso-spacerun: yes;">
</span>We live in a world full of sorcery.<span style="mso-spacerun: yes;">
</span>The Fantastic surrounds us, worse than that, it invades us, chokes us
and obsesses us – and one would have to be blind or very obstinate not to see
that… we live, even in the fullness of modernity, in the midst of the damned,
surrounded by the spectres of human heads and other horrors; that every day we
brush up against vampires and ghouls.”<o:p></o:p></span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "verdana" , sans-serif;">Jean Lorrain (1891)<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn81" name="_ftnref81" style="mso-footnote-id: ftn81;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;">[81]</b></span><!--[endif]--></span></span></a><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">Now, having looked at the conditions in which monsters were
formed in the last decades of the nineteenth Century, what is there to say
about the forms that these creatures actually took?<span style="mso-spacerun: yes;"> </span>We can review some of the recurring themes in
the primary sources covered in this survey and discuss their possible wider
significance.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">As we begin this chapter it should be pointed out that the
intention is not to create some sort of mechanistic, “A <span style="mso-char-type: symbol; mso-symbol-font-family: Symbol;">®</span> B”,
relationship between social tensions and their monstrous representations.<span style="mso-spacerun: yes;"> </span>At least part of what this study is about is
using monstrous tropes as a way of interrogating the irrational and
unscientific aspect of the Victorian psyche.<span style="mso-spacerun: yes;">
</span>If the irrational was removed by the Enlightenment from the mainstream
discourses, then what we are doing is reading the unspoken underlying
assumptions of the rational discourse back through their expression outside
those discourses.<span style="mso-spacerun: yes;"> </span>In doing so we can
uncover aspects of the hidden rationale that underlay the actions of people and
institutions in the fin de Siecle.<span style="mso-spacerun: yes;"> </span>This
is important because on their own the rational discourses rarely give a
sufficient explanation for human actions.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">In this period, as probably for most of human history, the
rational and irrational discourses differed along class lines.<span style="mso-spacerun: yes;"> </span>As Jonathan Rose has observed, the books the
working class read tended to be a generation or so behind those of the middle
class<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn82" name="_ftnref82" style="mso-footnote-id: ftn82;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[82]</span><!--[endif]--></span></span></a>
and he convincingly attributes this to books generally only being available in
their saleability cycle between being desirable new consumer items and
antiquated collectibles.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn83" name="_ftnref83" style="mso-footnote-id: ftn83;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[83]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The interests and concerns of the two classes
also differed a great deal, hence the range and content of their discourses
would differ accordingly.<span style="mso-spacerun: yes;"> </span>Therefore this
chapter will be divided along this axis of class and function.<span style="mso-spacerun: yes;"> </span>To begin with we will be looking at Monsters
within the mainstream of Fin De Seicle popular culture.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "verdana" , sans-serif;">3.1 Monstrous constructions and
Ruling class anxieties.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">“And what
is this attitude… of sniggering superiority punctuated by bursts of viscous
hatred (?)<span style="mso-spacerun: yes;"> </span>Look at any number of Punch
during the past thirty years.<span style="mso-spacerun: yes;"> </span>You will
find it everywhere taken for granted that a working-class person, as such, is a
figure of fun, except at odd moments when he shows signs of being too
prosperous whereupon he ceases to be a figure of fun and becomes a demon.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "verdana" , sans-serif;">George Orwell<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn84" name="_ftnref84" style="mso-footnote-id: ftn84;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;">[84]</b></span><!--[endif]--></span></span></a><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The rational discourses of the ruling
classes were taking a profound turn in the late nineteenth century.<span style="mso-spacerun: yes;"> </span>The notion of reason as the ideological
backbone of the Bourgeois status quo had taken a profound knock in the form of
the <st1:city w:st="on"><st1:place w:st="on">Paris</st1:place></st1:city>
commune in 1871.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn85" name="_ftnref85" style="mso-footnote-id: ftn85;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[85]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>For the class that had come to power in the
age of reason, the unreasonable nature of the slaughter that was required to
put down the first socialist government meant that a profound epistemological
shift had to occur<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn86" name="_ftnref86" style="mso-footnote-id: ftn86;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[86]</span><!--[endif]--></span></span></a>
in order to assimilate these events into the bourgeois world-view.<span style="mso-spacerun: yes;"> </span>Previously the working class had only been
considered dangerous or potentially revolutionary in the context of an
oppressive autocracy, which was equally oppressive to the interests of the
Bourgeoisie.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn87" name="_ftnref87" style="mso-footnote-id: ftn87;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[87]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>That such things could happen in supposedly
enlightened <st1:country-region w:st="on"><st1:place w:st="on">France</st1:place></st1:country-region>
showed that the working classes were capable of acting independently in their
own interests, and in establishing their own forms of political
organisation.<span style="mso-spacerun: yes;"> </span>It is no coincidence then
that the social sciences were a product of this period.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn88" name="_ftnref88" style="mso-footnote-id: ftn88;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[88]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<a href="https://1.bp.blogspot.com/-PAUlCfGyL88/Wt-Y_oB6PDI/AAAAAAAACb0/V7fYn-C3ArUawCFNkJTLgQRGsS2_QbEzwCEwYBhgL/s1600/100_0207.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="1600" data-original-width="866" height="320" src="https://1.bp.blogspot.com/-PAUlCfGyL88/Wt-Y_oB6PDI/AAAAAAAACb0/V7fYn-C3ArUawCFNkJTLgQRGsS2_QbEzwCEwYBhgL/s320/100_0207.jpg" width="173" /></span></a></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Along with the creation of the social
sciences, the progress of the natural sciences, long allied to capitalism,
continued apace.<span style="mso-spacerun: yes;"> </span>Out of these,
particularly out of the increasingly sophisticated medical science, would
emerge a series’ of pseudo-scientific discourses around evolution and human
society.<span style="mso-spacerun: yes;"> </span>However, these developments
were not mere reactions to Darwinian, or any other scientific theory.<span style="mso-spacerun: yes;"> </span>In fact they were an arguably necessary stage
in the assumption of power and the final transition from an aristocratic to a
bourgeois-capitalist society.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn89" name="_ftnref89" style="mso-footnote-id: ftn89;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[89]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The working class had stood beside the emergent middle
classes in the heroic period of their revolutions against the land owning
classes as a means to their own emancipation.<span style="mso-spacerun: yes;">
</span>By the end of century, the middle class system had seized power and the
old aristocracy had either emulated them or fallen by the wayside, they had
accommodated themselves to the system and vice versa, the workers services in
the vanguard of the liberal revolution was no longer required, all that was
required of them was that they work.<span style="mso-spacerun: yes;"> </span>The
British workers had retained their allegiance to the radical liberal ideology,
and the great working class movement of the mid-century, Chartism, had been
essentially reformist in its demands, but as the conflict in interests between
the two classes became apparent this allegiance faltered and failed.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn90" name="_ftnref90" style="mso-footnote-id: ftn90;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[90]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Furthermore, while the developing capitalist
economy was bringing more income to the workers in absolute terms, education
and a greater degree of social mobility than hitherto known, it also increased social
inequality and the nature of work became increasingly invasive into the privacy
of the workers, both by demanding more working hours<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn91" name="_ftnref91" style="mso-footnote-id: ftn91;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[91]</span><!--[endif]--></span></span></a>
and increasing regulation of the working day.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn92" name="_ftnref92" style="mso-footnote-id: ftn92;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[92]</span><!--[endif]--></span></span></a>
From 1875 popular socialist parties flourished across Europe, and while <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region> would
not see the foundation of the Labour Party until 1901, there was already a
“Labour Representative Committee” within the Liberal Party which held seats in
parliament and a distinctly new movement towards unionising “unskilled” labour.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">For the ruling classes the threat was readily
apparent.<span style="mso-spacerun: yes;"> </span>The workers had already
overthrown one social order, and in the <st1:city w:st="on"><st1:place w:st="on">Paris</st1:place></st1:city>
commune had shown themselves capable of organising and governing
themselves.<span style="mso-spacerun: yes;"> </span>Now, once again people were
talking in hushed voices of a new world and shouting their defiance on the
barricades.<span style="mso-spacerun: yes;"> </span>If the early gothic was
underlain by an anxiety at the overthrow of the feudal order that had been in
control literally since before time immemorial, then a distinct form of later
Victorian gothic surfaced at the end of the century that would be about the
anxieties of the usurper-class at being overcome in turn themselves.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif; font-weight: normal;">In this
context, what we have discussed in the previous chapter as the rational
discourse constituted a social-scientific/medical discourse around the working
class, as well as more obviously classist discourse of pseudo-scientific
taxonomical classifications.<span style="mso-spacerun: yes;"> </span>A
significant function of the rational discourse was to create a necessary psychological
condition of distance between the powerful and those over whom power was
exercised.<span style="mso-spacerun: yes;"> </span>It seems that in order to
exercise power it was necessary to overcome the natural affinity we as human
beings feel towards other members of our species, particularly for a class that
had come to power partly through articulating a rhetoric of egalitarianism and
liberation.<span style="mso-spacerun: yes;"> </span>In practice this meant it
was necessary to conceive of the subjects of power as an inert mass - the term,
“The Masses” passed into popular usage among intellectuals at about this time.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn93" name="_ftnref93" style="mso-footnote-id: ftn93;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[93]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Thus rendered the masses could be
reconstructed.<span style="mso-spacerun: yes;"> </span>In times of conflict they
could be recreated as sufficiently different to the norm that the rules of
society that restrict what one human being could do to another did not
apply.<span style="mso-spacerun: yes;"> </span>Also, they could be reconstructed
in such a way as to manage this fear by diminishing the threat posed by the
masses and within this they could be constructed as mentally diminished to the
extent that they required leadership.<span style="mso-spacerun: yes;"> </span>In
the context of the post-darwinian science of the rational discourse this
expressed itself in the irrational formulation that “The Masses” were somehow a
different species. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"> <span style="font-family: "tahoma";">The teratology of the masses in the
irrational discourse of late Victorian Gothic reflects this.</span> <span style="font-family: "tahoma";">Within the rational discourse there existed
in the late nineteenth century a series of recurring arguments around the
notion of “</span><a href="https://www.youtube.com/watch?v=9BlNGZunYM8" target="_blank">Degeneration</a><span style="font-family: "tahoma";">”.</span> <span style="font-family: "tahoma";">In the late
nineteenth century the difference in dietary and living conditions of working
class life meant that often there was a perceivable physical difference between
members of different classes, and usually the industrial workers suffered by
the comparison.</span> <span style="font-family: "tahoma";">From this grain of truth
emerged a socio-biological theory that the effects of town life on the
inhabitants of the expanding industrial centers of Britain - and London in
particular – was pushing the evolution of the species backwards, at least for
those classes so affected.</span><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn94" name="_ftnref94" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[94]</span><!--[endif]--></span></span></a> <span style="font-family: "tahoma";">That this simple case of mass malnourishment
metamorphisised into a gothic construction of the working class shows almost
better than anything, the pervasiveness of the irrational within public
discourse.<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>So now, turning to the gothic
literature, the first great ur-text of this fiction of degeneration to be
published in the period under consideration was Robert Louis Stevenson’s The
Strange Case of Dr. Jekyll and Mr Hyde.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn95" name="_ftnref95" style="mso-footnote-id: ftn95;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[95]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The novella was written in October of 1885 as
a quick chiller to satisfy the Christmas market, just as another story had been
the previous year.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn96" name="_ftnref96" style="mso-footnote-id: ftn96;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[96]</span><!--[endif]--></span></span></a>
Despite these inauspicious origins, the book was an immediate success, giving
Stevenson financial independence for the first time in his life.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn97" name="_ftnref97" style="mso-footnote-id: ftn97;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[97]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Indeed this is a good example of the
phenomenon explained in the last chapter of a quickly composed commercial story
being able to pick up on the cultural climate better than something that a lot
of thought had been put into, the success of the story being an indication of
the chord it struck with the public.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The basic story behind Jekyll and Hyde is ubiquitous so it
hardly seems worth going over the plot, but there are some pertinent points in
the original book<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn98" name="_ftnref98" style="mso-footnote-id: ftn98;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[98]</span><!--[endif]--></span></span></a>
that haven’t survived the transfiguration of the story from a text into a
legend.<span style="mso-spacerun: yes;"> </span>The story is framed as a
mystery, an investigation by the protagonist, Utterson and some of his circle,
into the strange association between his friend Henry Jekyll and another man
Edward Hyde.<span style="mso-spacerun: yes;"> </span>In the first chapters part
of the novella we already have the introduction of the class nature of Hyde’s
origins, the first possible explanation for the association between the two men
put forward in the text is that Hyde has blackmailed his way into Jekylls
beneficence;<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Blackmail I suppose, an honest man paying through the nose
for some of the capers of his youth...<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn99" name="_ftnref99" style="mso-footnote-id: ftn99;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[99]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">So much connoted in those few words.<span style="mso-spacerun: yes;"> </span>The obvious implication to a Victorian reader
would have been homosexuality.<span style="mso-spacerun: yes;"> </span>In his
introduction to the current Penguin Classics edition, Robert Mighall points out
that for a middle aged bachelor to be paying the way for a younger man (who
isn’t a relative, and is unknown to his oldest friends) against the background
of the recent criminalisation of homosexuality the year before (in the
so-called “blackmailer’s charter”) an erotic connection was the obvious
explanation.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn100" name="_ftnref100" style="mso-footnote-id: ftn100;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[100]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The class implications are more subtle
because we can follow this line of connotation into the practice of Victorian
Gentlemen in traversing the boundaries of acceptable sexuality, and quite
literally the spatial boundaries between the classes in search of rough
trade.<span style="mso-spacerun: yes;"> </span>Even before his fantastic origins
are revealed, Hyde is already a specifically “classed”<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn101" name="_ftnref101" style="mso-footnote-id: ftn101;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[101]</span><!--[endif]--></span></span></a>
species of monster – the proletarian blackmailer seeking to upset the
boundaries of human decency and the web of secrets that holds society together.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The physical characteristics of Hyde also suggest the inner-city
degenerated prole.<span style="mso-spacerun: yes;"> </span>As the critic John
Sutherland points out, the description of Hyde’s physical appearance is
deliberately obscure<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn102" name="_ftnref102" style="mso-footnote-id: ftn102;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[102]</span><!--[endif]--></span></span></a>
as, like Frankenstein’s Monster,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn103" name="_ftnref103" style="mso-footnote-id: ftn103;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[103]</span><!--[endif]--></span></span></a>
Hyde’s monstrosity is self evident but indefinable.<span style="mso-spacerun: yes;"> </span>The features that are given however do carry
class connotations.<span style="mso-spacerun: yes;"> </span>The most consistent
feature across the novella is Hyde’s height; ‘“particularly small and
particularly wicked looking” is what the maid calls him’ according to a police
investigator of the case.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn104" name="_ftnref104" style="mso-footnote-id: ftn104;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[104]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Height was, according to degeneration
theorists, one of the signs of physical deterioration of the Urban poor<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn105" name="_ftnref105" style="mso-footnote-id: ftn105;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[105]</span><!--[endif]--></span></span></a>
“a stunted growth is characteristic of the race”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn106" name="_ftnref106" style="mso-footnote-id: ftn106;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[106]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The diminished height and aspect of the
urbanite was taken by the degenerationists as indicative of the diminishment of
that section of the species as a whole.<span style="mso-spacerun: yes;">
</span>We should also note that one particular characteristic of Hyde’s height
seems to speak particularly of the fear of a resurgent working class, namely
that he was getting bigger, and that ‘the balance of (Jekyll’s) nature would be
permanently overthrown’.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn107" name="_ftnref107" style="mso-footnote-id: ftn107;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[107]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; mso-bidi-font-size: 12.0pt;">Similarly, the only other features of Hyde given with any specificity,
his hands, are also implicitly framed in terms of class.<span style="mso-spacerun: yes;"> </span>Hyde describes his own hands as, <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">“professional
in shape and size…and comley”<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn108" name="_ftnref108" style="mso-footnote-id: ftn108;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[108]</span><!--[endif]--></span></span></a>,
in comparison with Hyde’s, which is “lean, corded, knuckly, of a dusky pallor
and thickly shaded with a thwart growth of hair”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn109" name="_ftnref109" style="mso-footnote-id: ftn109;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[109]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This description becomes more elaborate in
the various revisions made by Stevenson as the novel is printed and
re-printed.<span style="mso-spacerun: yes;"> </span>In the original the
comparison with Hyde’s hand isn’t given.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn110" name="_ftnref110" style="mso-footnote-id: ftn110;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[110]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This is perhaps indicative of the interactive
relationship between texts and the reading public whereby the mythic resonance
in the collective imagination feeds back into the text itself, changing it.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn111" name="_ftnref111" style="mso-footnote-id: ftn111;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[111]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The more intangible aspects of Hyde’s various descriptions
also display a particular reverberation of class-degeneration discourses.<span style="mso-spacerun: yes;"> </span>In some senses these impressionistic features
are more important because they are trying to convey feeling and emotion, and
hence engage the deeper, sub-conscious sites of reception where irrational
prejudices situated.<span style="mso-spacerun: yes;"> </span>The apeishness of
Hyde is something that is continuously emphasised through the text.<span style="mso-spacerun: yes;"> </span>In the ‘ape-like fury’ of his assault on
Danvers Carew is noted by the maid who witnessed the attack,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn112" name="_ftnref112" style="mso-footnote-id: ftn112;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[112]</span><!--[endif]--></span></span></a>
Jekyll’s man-servant Poole describes him as moving like “a monkey” as he
happened upon him in Jekyll’s chambers.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn113" name="_ftnref113" style="mso-footnote-id: ftn113;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[113]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The inference here isn’t hard to
decipher.<span style="mso-spacerun: yes;"> </span>Concerns about and theories on
man’s relationship with the simian were quite common in zoological discourses
in the nineteenth century, pre-dating Darwin’s publication of The Origin of the
Species.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn114" name="_ftnref114" style="mso-footnote-id: ftn114;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[114]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>To the degenerationists it followed logically
that if the Ape was the closest relative of Homo Sapiens then that was the
direction the degenerates and other less evolved sections of humanity were
heading.<span style="mso-spacerun: yes;"> </span>Furthermore, there was a
convergence between this scientific discourse and representations of the
criminal, particularly political violence (and usually Irish nationalists of
various stripes<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn115" name="_ftnref115" style="mso-footnote-id: ftn115;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[115]</span><!--[endif]--></span></span></a>).<span style="mso-spacerun: yes;"> </span>Within this politicised context any political
action of the organised sections of the Irish workers and peasants, from the
extremely moderate agitation of O’Connell’s movement through the
confrontational, thought not violent, political action of the Parnell-era
agitation around the Home-Rule bill and into the terrorism of the IRB<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn116" name="_ftnref116" style="mso-footnote-id: ftn116;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[116]</span><!--[endif]--></span></span></a>
could all be characterised in biological terms as originating from some
hereditary propensity towards violence.<span style="mso-spacerun: yes;">
</span>Ironically this did as much of a disservice to the Gorillas as it did to
the Irish.<span style="mso-spacerun: yes;"> </span>Gorillas are actually an
extremely placid species who spend most of their time feeding or sleeping, but
this misrepresentation of the Gorilla within the rational discourse of Zoology
is quite explicable in this context of justifying an irrational social myth of
racial monstrosity.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-V7o_rHOode0/Wt-agzZbdWI/AAAAAAAACcc/W3eNLijZNZwgBiyuy5TlwP9RXHMeBI1kwCEwYBhgL/s1600/the-usual-way-of-doing-things-ohio-state.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="450" data-original-width="450" height="320" src="https://4.bp.blogspot.com/-V7o_rHOode0/Wt-agzZbdWI/AAAAAAAACcc/W3eNLijZNZwgBiyuy5TlwP9RXHMeBI1kwCEwYBhgL/s320/the-usual-way-of-doing-things-ohio-state.png" width="320" /></span></a></div>
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">That this simian trope emerges in Jekyll and Hyde, which in
no other way appears to allude to an Irish (or indeed any other) colonial
discourse, at that point in history, is significant because what it suggests is
that the working class movement in Britain had inherited some of the same
anxieties generated by the Irish nationalists.<span style="mso-spacerun: yes;">
</span>Since the defeat of the first general strike in 1842 and the end of the
chartist movement in the later part of the 1840s, the class struggle in <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region> had
been de-railed and the efforts of the following generation of activists went
into less confrontational modes of working class organisation, chiefly the
co-operative movement.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn117" name="_ftnref117" style="mso-footnote-id: ftn117;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[117]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>From that time the main organised mass
movement to challenge the <st1:placename w:st="on">British</st1:placename> <st1:placetype w:st="on">State</st1:placetype> hegemony had been in <st1:country-region w:st="on"><st1:place w:st="on">Ireland</st1:place></st1:country-region>.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn118" name="_ftnref118" style="mso-footnote-id: ftn118;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[118]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>It is quite clear, at least in the Irish
context, that organisation was central to bourgeois anxieties.<span style="mso-spacerun: yes;"> </span>Disorganised, the Irish can be dismissed,
even sympathised with to a degree, but when they organise themselves they
become monstrous.<span style="mso-spacerun: yes;"> </span>Chris Baldick has
noted that a paternalistic sympathy for the plight of British workers that
changes swiftly to abject hatred and disgust at working class organisation is
evident in literature from around the mid point in the century, for example in
the novels of Elizabeth Gaskell.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn119" name="_ftnref119" style="mso-footnote-id: ftn119;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[119]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>As the British working class began to
organise themselves again around the mid-1880s<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn120" name="_ftnref120" style="mso-footnote-id: ftn120;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[120]</span><!--[endif]--></span></span></a>
and the first stirrings of the ‘New Unionism’ were felt the British working man
again became a threat, it doesn’t seem like a great leap to suggest that they
were also subject to a transference of irrational discourse.<span style="mso-spacerun: yes;"> </span>In other words, for a bourgeoisie that was
already accustomed to thinking about organised mass political dissidence in
terms of anthropomorphic monstrosity, when presented with a similar social
phenomenon they would naturally assimilate this information utilising the same
thought tracks.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">Part of that linguistic construction of the class conflict
would also have drawn on - and indeed been shaped by - some of the older deep
myths of western culture.<span style="mso-spacerun: yes;"> </span>One of these
that is evident in Stevenson’s novella is the story of Esau and Jacob from the
Old Testament.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn121" name="_ftnref121" style="mso-footnote-id: ftn121;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[121]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This story of the “hairy” twin dispossessed
of his birthright also has resonance, ironically considering the secularism of
the author, in H.G. Wells’s The Time Machine.<span style="mso-spacerun: yes;">
</span>Again this is tied into a monstrous and animalistic construction of
class conflict albeit expressed in much a more direct form.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: right; text-indent: 36pt;">
<span style="font-family: "verdana" , sans-serif;"><o:p> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-MQ7zFYWhY8A/Wt-Z1rN4vCI/AAAAAAAACcI/1m-X1oEgnaoktjJM0qETRdwdYr4sspS5ACEwYBhgL/s1600/timemachine.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://1.bp.blogspot.com/-MQ7zFYWhY8A/Wt-Z1rN4vCI/AAAAAAAACcI/1m-X1oEgnaoktjJM0qETRdwdYr4sspS5ACEwYBhgL/s320/timemachine.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Title Page of the 1st edition</td></tr>
</tbody></table>
</o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">In Wells’s vision of the future, civilisation has fallen
and mankind has literally degenerated into two species, a gracile sub-species
of “little people”, called ‘Eloi’, that live on the surface and the monstrous
‘Morlocks’ that live and toil beneath the ground, looking after the material
needs of the Eloi.<span style="mso-spacerun: yes;"> </span>As China Miéville
points out,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn122" name="_ftnref122" style="mso-footnote-id: ftn122;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[122]</span><!--[endif]--></span></span></a>
Wells doesn’t require much deep analysis to decipher the imagery in his novels
because quite often he tells us what they mean quite explicitly within the
text.<span style="mso-spacerun: yes;"> </span>The way in which the relationship
between classes under industrial capitalism develops into the Eloi and Morlocks
is spelt out quite explicitly on pages 48-49 of the current (2006) Penguin
Classics edition.<span style="mso-spacerun: yes;"> </span>Furthermore, he is
quite explicit in the teratology of the Morlocks, how they become bleached
white because of their habit of living subterranean:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">…[E]ven now there are existing circumstances to point that
way…does not and East End worker live in such conditions as practically to be
cut off from the natural surface of the Earth?<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn123" name="_ftnref123" style="mso-footnote-id: ftn123;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[123]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">It emerges later in the novel that contrary to his earlier
belief, the Eloi aren’t in charge of the situation and in fact the vents
apparent all over the surface aren’t just there to provide air to the
underground kingdom of the Morlocks, but are also access points from which they
emerge at night to drag the Eloi down to be butchered and eaten.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">Within this binary the Morlocks are on top, in other words
this isn’t the fear of the, ‘mutual ruination of the contending classes’, but a
nightmarish vision of a sort of proletarian victory.<span style="mso-spacerun: yes;"> </span>Wells was a Fabian, i.e. he believed in an
evolutionary vision of socialism to be imposed onto society from the top down
by a cadre of intellectual supermen, ‘Samurai’ as he termed it, for the benefit
of all.<span style="mso-spacerun: yes;"> </span>As much as he was a socialist,
the idea of class conflict and an independent working class movement trying to
impose its own interests on society was as horrific to him as it was to Mrs
Gaskell writing half a century earlier.<span style="mso-spacerun: yes;">
</span>Moreover, out of these two sub-species the sympathy of the reader is
firmly with the Eloi.<span style="mso-spacerun: yes;"> </span>There isn’t any
particular sense of the tragedy of Morlocks as fallen humanity.<span style="mso-spacerun: yes;"> </span>Also, considering the incidence of
capitalist-as-pig metaphors in the culture of the time and the Elois role in the
plot as food animals, there is little to nothing made of this potentially
fruitful source of imagery.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn124" name="_ftnref124" style="mso-footnote-id: ftn124;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[124]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>To the extent that the reader’s sympathy is
with anyone in the novel it is firstly with the Time-Traveller, (who if the
Morlocks and Eloi represent the workers and capitalists certainly represents
the intellectual) then the Eloi, with the Morlocks on the bottom.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn125" name="_ftnref125" style="mso-footnote-id: ftn125;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[125]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">Even though Wells explicitly sets out the meaning of his
parable, we can still read the teratology of the Morlocks within a wider
inter-textual nexus of social anxieties.<span style="mso-spacerun: yes;">
</span>The cannibalistic nature of the Morlocks draws on centuries’ worth of
anxieties about colonialism dating back to the first age of capitalist
expansion in the Early Modern period.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn126" name="_ftnref126" style="mso-footnote-id: ftn126;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[126]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Moreover both of the degenerated sub-species
in the novel are physically smaller than modern man.<span style="mso-spacerun: yes;"> </span>As with Edward Hyde, we can see this idea of
physical height and its relation to the degeneration of the species being
played out in the construction of the Morlocks.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">In Well’s second novel, The Island of Doctor Moreau, the
theme of the working class as another species is less overt, but the imagery is
much sharper.<span style="mso-spacerun: yes;"> </span>The story is fairly simple
– a traveller, through ill fortune ends up stranded on an island where a
surgeon/vivisectionist, Dr. Moreau, has been trying to create rational man-like
beings by cutting up animals and suturing them back together again.<span style="mso-spacerun: yes;"> </span>Moreau is killed by one of his experiments
and the island descends into chaos without him and the traveller eventually
escapes back to civilisation.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The class element in this parable is
in the details.<span style="mso-spacerun: yes;"> </span>Dr. Moreau hasn’t just
re-constructed animal matter into the humanoid form, but animal behaviour into
an approximation of human society.<span style="mso-spacerun: yes;">
</span>Moreau and his assistant, Montgomery, constitute a ruling class, over
the beast people.<span style="mso-spacerun: yes;"> </span>The protagonist, again
a rational man of science – much like the author – is an intellectual whose
place in this mini-society is somewhere in between the humans and the Beast
Folk.<span style="mso-spacerun: yes;"> </span>Like the ruling class, Moreau
controls the beast folk through a series of laws that are held almost as a
religion and enforced by the religious awe that the Beast folk have of
him.<span style="mso-spacerun: yes;"> </span>Moreau also monopolises the
ownership of the firearms on the island for use against any Beast-man
transgressing against the rule of law, thus maintaining his position as the
sole a force with the licence to inflict pain and even death onto other people
in the same way that the state reserves the right to punish and even kill
anyone transgressing against its code of laws.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">The proletarian nature of the beast people is evident in
their description.<span style="mso-spacerun: yes;"> </span>John<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Carey sees
a continuity between the repellent nature of the beast folk and the repulsion
felt by the Victorian intellectual for the masses.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn127" name="_ftnref127" style="mso-footnote-id: ftn127;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[127]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>There is a lot of textual evidence to support
this assertion.<span style="mso-spacerun: yes;"> </span>The space on the island
the beast folk inhabit is couched in terms reminiscent of the gothicised
Victorian slum, particularly in the section of the novel after Moreau dies and
the beast-folk start reverting to their animal nature – literally
degenerating.<span style="mso-spacerun: yes;"> </span>Their faces are almost
uniformly prognathous,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn128" name="_ftnref128" style="mso-footnote-id: ftn128;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[128]</span><!--[endif]--></span></span></a>
a feature they have in common with the Victorian stereotype of the Irish male.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn129" name="_ftnref129" style="mso-footnote-id: ftn129;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[129]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>As Prendick lives on the island the
lines between Beast-man and human begin to blur as he sees the human aspect
that has been trained into them.<span style="mso-spacerun: yes;">
</span>Interestingly, in both the examples given by the text the human
characteristics he sees allude to the lower classes;<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">I would see one of the bovine creatures…treading heavily
through the undergrowth, and find myself trying hard to recall how he differed
from some really human yokel trudging home from his mechanical labours; or I
would meet the Fox-Bear Woman’s vulpine shifty face, strangely human in its
speculative cunning, and even imagine I had met it before in some city byway.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn130" name="_ftnref130" style="mso-footnote-id: ftn130;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[130]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">This seems
to implicitly support the idea that workers retain more of the animal-in-man
than their social and intellectual superiors.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>When Prendick returns to society, he
finds the lines between man and animal permanently obscured.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn131" name="_ftnref131" style="mso-footnote-id: ftn131;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[131]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Not only has he picked up some of the
wildness of his companions but, as he puts it;<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">I could not persuade myself that the men and women I met
were not also… beast-people… and that they would presently begin to revert… I
feel as though the animal was surging up through them and the degradation of
the Islanders will be played over again on a larger scale.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn132" name="_ftnref132" style="mso-footnote-id: ftn132;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[132]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Again Wells helpfully decodes the
imagery of the novel for us.<span style="mso-spacerun: yes;"> </span>This is the
most explicit articulation of the trope of degeneration in the fantastic
literature of the period I have yet come across.<span style="mso-spacerun: yes;"> </span>Curiously, Well’s novels are conspicuously
absent from the current literature on Degeneration Theory and it isn’t that
they don’t utilise literary sources either.<span style="mso-spacerun: yes;">
</span>In fact, the majority of studies on Degeneration Theory that examine
popular notions of degeneration through the lens of contemporaneous literature
tend to be about Bram Stokers novel Dracula.<span style="mso-spacerun: yes;">
</span>This is particularly interesting when you consider that while Wells’s
scientific romances were genuinely popular<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn133" name="_ftnref133" style="mso-footnote-id: ftn133;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[133]</span><!--[endif]--></span></span></a>
in the 1890s compared to Dracula. Though it sold well enough<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn134" name="_ftnref134" style="mso-footnote-id: ftn134;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[134]</span><!--[endif]--></span></span></a>
in it’s day, Dracula only became really popular in the twentieth century with
the advent of cinema and the early cinematic adaptations,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn135" name="_ftnref135" style="mso-footnote-id: ftn135;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[135]</span><!--[endif]--></span></span></a>
which don’t feature any of the degenerative aspects of the novel.<span style="mso-spacerun: yes;"> </span>It is perhaps partly for this reason, i.e.
that it is so well known as to be omnipresent in our culture, recreated and
adapted at some point in every generation, while it’s original meaning isn’t
remembered, that Dracula receives the attention that Wells doesn’t.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Of course another reason why there is
a particular emphasis on Dracula is that the author explicitly characterises
the eponymous Count Dracula in pseudo-scientific terms and name-checks the
fathers of degeneration theory.<span style="mso-spacerun: yes;"> </span>The
Count is described as “criminal and of criminal type”,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn136" name="_ftnref136" style="mso-footnote-id: ftn136;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[136]</span><!--[endif]--></span></span></a>
and we are assured that “Nordau and Lombroso would classify him so”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn137" name="_ftnref137" style="mso-footnote-id: ftn137;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[137]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Dracula is an extremely complex novel
and can be read in a number of ways, but at its heart is the synergy between the
vampyric imagery from the older gothic tradition and the particularly late
Victorian crisis and its psychological fall-out in the discourses around
degeneration.<span style="mso-spacerun: yes;"> </span>The ‘literary sleuth<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn138" name="_ftnref138" style="mso-footnote-id: ftn138;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[138]</span><!--[endif]--></span></span></a>’
Elizabeth Millar, commenting on the tendency of modern critics like Salli Kline
to see Dracula’s physical features as originating with Lombroso, seems to
half-dismiss the idea, pointing out that while Stoker’s description of Dracula
does correspond to Lombroso’s criminal man we have a direct source for
Dracula’s features in the work of the Victorian folklorist Sabine Baring-Gould.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn139" name="_ftnref139" style="mso-footnote-id: ftn139;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[139]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Actually, one could synthesise these two
points to say that it is no coincidence that Lombroso’s Criminal Type
corresponds to a folkloric/pre-Enlightenment notion of monstrosity (doubtless
Stoker would not have seen it as such) or that this convergence manifests
itself in Gothic literature.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Dracula, more so that Well’s novels or Stevenson’s Strange
Case follows the pattern of the classic gothic in that it is a story of the
clash between the old pre-Enlightenment world of peasant superstition (often
associated with Catholicism) and the new world of protestant reason (and its
offspring, science).<span style="mso-spacerun: yes;"> </span>It takes after the
long tradition of Vampire stories within the gothic that began with Polidori’s The
Vampyre.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn140" name="_ftnref140" style="mso-footnote-id: ftn140;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[140]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>In the earlier stories the class antagonism
between the aristocracy and bourgeoisie is evident.<span style="mso-spacerun: yes;"> </span>As the bourgeoisie and aristocracy syncretise
into a new capitalist ruling class over the course of the nineteenth Century,
the later vampire gothic appears to be predicated on the fear of the
peasantry.<span style="mso-spacerun: yes;"> </span>In the British context this
took on a particularly Irish flavour.<span style="mso-spacerun: yes;">
</span>It’s no coincidence that the two greatest Vampire authors of the later
nineteenth century, John Sheridan Le Fanu and Bram Stoker, were both
Anglo-Irish.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn141" name="_ftnref141" style="mso-footnote-id: ftn141;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[141]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The early chapters in Dracula, where the
Urban Anglican high-churchman finds himself in the un-nerving company of a
superstitious peasantry, might well be read as reflecting the author’s
experience of being Urban Anglo-Irishman amidst the superstitious peasantry of <st1:country-region w:st="on"><st1:place w:st="on">Ireland</st1:place></st1:country-region>.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-spacerun: yes;"> </span>Into this lap of the
old world, seemingly un-touched by the reformation, not withstanding the
Enlightenment or industrial revolution, comes Harker and with him the modern
world of phonographs, short hand and the up to the minute science of
physiognomy.<span style="mso-spacerun: yes;"> </span>At the heart of Dracula,
underneath the details, is a fear that despite all our technology and science
there are things older and stranger than us in this world that mere ephemera
like firearms, phonographs and the steam engine cannot overcome.<span style="mso-spacerun: yes;"> </span>Yet in the end these are the things that
defeat Dracula, giving the novel a particular reading as a way of containing
and managing this anxiety.<span style="mso-spacerun: yes;"> </span>This echoes
the positivist context of the society in which the book was written.<span style="mso-spacerun: yes;"> </span>For writers after the shocks of the early
twentieth century (American Horror writer H.P. Lovecraft being the most
prominent example) this subtext comes to the fore and becomes the source of the
horror, and modernity is utterly impotent.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn142" name="_ftnref142" style="mso-footnote-id: ftn142;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[142]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-wHn5UkAoas0/Wt-blpydz5I/AAAAAAAACdA/oJxA24M1QtUnKHG5RBIuPD8y1FP4evKRACEwYBhgL/s1600/220px-Dracula_Book_Cover_1916.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="337" data-original-width="220" height="320" src="https://2.bp.blogspot.com/-wHn5UkAoas0/Wt-blpydz5I/AAAAAAAACdA/oJxA24M1QtUnKHG5RBIuPD8y1FP4evKRACEwYBhgL/s320/220px-Dracula_Book_Cover_1916.jpg" width="208" /></span></a></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The teratology of Dracula himself has
been described, notably by Stephen Arata,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn143" name="_ftnref143" style="mso-footnote-id: ftn143;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[143]</span><!--[endif]--></span></span></a>
as representing a panorama of Victorian anxieties about a variety of
contemporaneous issues.<span style="mso-spacerun: yes;"> </span>Even bearing in
mind Robert Mighalls quite reasonable criticism of many critics of Dracula as
engaged in a gothicising project themselves,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn144" name="_ftnref144" style="mso-footnote-id: ftn144;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[144]</span><!--[endif]--></span></span></a>
we can clearly see how Dracula touches on these various issues of gender and
femininity<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn145" name="_ftnref145" style="mso-footnote-id: ftn145;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[145]</span><!--[endif]--></span></span></a>
and anxieties over Empire.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn146" name="_ftnref146" style="mso-footnote-id: ftn146;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[146]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>In the context of the monstrous construction
of the working class, what we see in Dracula is not so much the working class
as another species, though it does draw on tropes from the degeneration
discourse,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn147" name="_ftnref147" style="mso-footnote-id: ftn147;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[147]</span><!--[endif]--></span></span></a>
but the monstrous foreigner.<span style="mso-spacerun: yes;"> </span>At the time
Dracula was written there had been a large movement of eastern Europeans into <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region>, many
of them Jews fleeing the pogroms.<span style="mso-spacerun: yes;"> </span>Then
as now there was a great anxiety around the coming of so many immigrants, not
only from the working classes who would face competition from these migrants in
the labour market, but also from the very classes who would objectively benefit
from them.<span style="mso-spacerun: yes;"> </span>That Dracula amalgamates
anxieties about Imperial decline, racial degeneration with the monstrous
construction of the working classes into a xenophobic and anti-semetic<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn148" name="_ftnref148" style="mso-footnote-id: ftn148;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[148]</span><!--[endif]--></span></span></a>
nightmare of a reversal of colonialism, could perhaps explain this persistent
irrational response to the perennial social-economic phenomenon of emigration.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">To close this section on the use of the monstrous in the
class struggle by the bourgeoisie, one recurring motif that has not been
covered but certainly deserves some consideration is the violation of bourgeois
space by proletarian bodies.<span style="mso-spacerun: yes;"> </span>Recent
social historians have noted that one of the key points of the development of
bourgeois identity was the creation of the home, i.e. the demarcation of
private space within the familial homestead.<span style="mso-spacerun: yes;">
</span>This also relates to Bryan Turner’s theory of the social order, which is
that the social order functions in a very specific manner, i.e. as the
restriction of the human body.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn149" name="_ftnref149" style="mso-footnote-id: ftn149;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[149]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>One facet of the social order in Turner’s conception
is the restriction of the body in space – where you can or can’t go in general
life and the restriction of certain deviant bodies to institutions like prisons
or lunatic asylums, which will themselves each contain a highly codified system
of restriction.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Taking a dialectic approach to Turner’s theory of the
social order, one can see that this idealistic creation of boundaries and
immaterial borders also contains within itself its own negation, the
transgression of those boundaries.<span style="mso-spacerun: yes;"> </span>So,
with this creation of the safe space of the bourgeois household came the
anxiety of the fear of the violation of that space.<span style="mso-spacerun: yes;"> </span>In some sense this fear of the interloper in
the safe space of the homestead has always existed in monster literature, in
Beowulf from the Tenth century for example, the moment of panic is when Grendel
invades Heorot, the hall of king Hrothgar.<span style="mso-spacerun: yes;">
</span>At the end of the Nineteenth century, as these nightmares of violated
space are located with great specificity within the bourgeois household, these
themes emerge not just in the horror literature of the day but also (though a
few decades later) within the rational discourse, at the beginning of the
pseudo-science of psychology.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn150" name="_ftnref150" style="mso-footnote-id: ftn150;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[150]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Two of the best-known examples of the type, The Horla by
Guy De Maupassant<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn151" name="_ftnref151" style="mso-footnote-id: ftn151;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[151]</span><!--[endif]--></span></span></a>
and Henry James’ The Turn of the Screw<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn152" name="_ftnref152" style="mso-footnote-id: ftn152;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[152]</span><!--[endif]--></span></span></a>,
are stories of incorporeal and indefinable horrors in bourgeois country
retreats.<span style="mso-spacerun: yes;"> </span>Monleon points out that these
settings are away from the terrors of the inner cities that had been created by
capital but somewhere that was also very much an extension of city life.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn153" name="_ftnref153" style="mso-footnote-id: ftn153;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[153]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The way in which these stories relate to the monstrous
construction of the working class is through the invasion of and usurpation of
the space.<span style="mso-spacerun: yes;"> </span>This is most obvious in The
Turn of The Screw, where the monsters are the shades of servants that are
trying to possess the children of the household,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn154" name="_ftnref154" style="mso-footnote-id: ftn154;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[154]</span><!--[endif]--></span></span></a>
though no less evident in The Horla for that.<span style="mso-spacerun: yes;">
</span>The Horla itself is an invisible vampiric force that slowly usurps and
drains the life from the unnamed narrator.<span style="mso-spacerun: yes;">
</span>In his diary entries he fears that one day creatures superior to man
will cross the void of space to conquer mankind, “just as the Norsemen formerly
crossed the sea to subjugate nations more feeble than themselves”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn155" name="_ftnref155" style="mso-footnote-id: ftn155;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[155]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Norsemen, or indeed his contemporaries in his
own <st1:placename w:st="on">Third</st1:placename> <st1:placetype w:st="on">Republic</st1:placetype>
and their counterparts in the rest of <st1:place w:st="on">Europe</st1:place>
who were crossing their own seas to subjugate nations more feeble than
themselves.<span style="mso-spacerun: yes;"> </span>This puts The Horla in the
same tradition of anxieties of reverse-colonialism as Dracula and The War of
the Worlds, of which its author would say “they (the martian invaders) did to
us what we did to the Tasmanians”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn156" name="_ftnref156" style="mso-footnote-id: ftn156;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[156]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>He also fears that the Horla would “Make of
man what we have made of the Horse and the Ox: his chattel, his slave and his
food”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn157" name="_ftnref157" style="mso-footnote-id: ftn157;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[157]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>In other words he will re-order the economic
relations to put himself in an exploitative relationship with man.<span style="mso-spacerun: yes;"> </span>This is a classic example of what Freud
called Projection, the act of attributing your own taboo thoughts and emotions
onto others.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Throughout the nineteenth century the European bourgeoisie
conquered and enslaved most of the rest of the world and created an industrial
system of exploitation in their own countries.<span style="mso-spacerun: yes;">
</span>I would argue that we can tell a little of what they felt about that
through the monsters they created who were eternally on the verge of doing
exactly the same thing to them.<span style="mso-spacerun: yes;"> </span>Possibly
the only thing they did to those they exploited that they did not fanaticise
about someone or some thing doing to them was to construct their subjects in as
monstrous/inhuman.<span style="mso-spacerun: yes;"> </span>Perhaps this was
because they did not have to fanaticise about it because the working classes
were perfectly well up to the task themselves, which is what we are going to be
looking at in the next section.<o:p></o:p></span></div>
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<a href="https://3.bp.blogspot.com/-I7E3lozMFPk/Wt-cADW8JzI/AAAAAAAACdA/fSthTd9BN-M0BNxgI9dCD3f6TafgUN3rwCEwYBhgL/s1600/100_0211.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="1600" data-original-width="1198" height="320" src="https://3.bp.blogspot.com/-I7E3lozMFPk/Wt-cADW8JzI/AAAAAAAACdA/fSthTd9BN-M0BNxgI9dCD3f6TafgUN3rwCEwYBhgL/s320/100_0211.jpg" width="239" /></span></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "verdana" , sans-serif;">3.2 Bloodsuckers, Dark Gods and
Capitalist Pigs.<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-weight: normal;">“It raises the question… for socialists, ‘do we want to be
the monster or do we want to destroy the monster?’<span style="mso-spacerun: yes;"> </span>And the answer of course is ‘Yes’”.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region> Méiville at Marxism 2005<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>In looking at the literature of the
working class we are moving now from the relative certainties of literary and
intellectual history into the obscure netherworld of the largely unrecorded and
unknown.<span style="mso-spacerun: yes;"> </span>The working class, or more
properly the working classes, of late Victorian Britain were an extremely heterodox
with a large range of attitudes and experiences including a not insubstantial
proportion who would have fully assimilated the attitudes of the hegemonic
discourse, as discussed in the last section.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn158" name="_ftnref158" style="mso-footnote-id: ftn158;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[158]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This section therefore cannot claim to
encompass the fears of the working class as a whole, but we can perhaps make a
start on sections of the British working class that were conscious of
themselves and their interests as a class and some of the pre-Labour party
working class movement through examining the cultural artefacts produced by and
for that movement and in opposition to the prevailing cultural hegemony of the
time.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">One of the problems we face here is that there isn’t a
comparable tradition of monster literature within the literature produced by
the working class novelists of the time and nor would there be until the
twentieth century.<span style="mso-spacerun: yes;"> </span>The working class
novelists of the fin de seicle tended to write naturalist semi-autobiographical
novels about the working-class experience, trying to rescue themselves from the
enormous condescension of history.<span style="mso-spacerun: yes;"> </span>Such
fantastic literature as we have from the socialist movement of the period tends
to come from middle and upper class socialists that have got into the movement through
a moral or aesthetic critique of capitalism rather than those from the working
class movement.<span style="mso-spacerun: yes;"> </span>To find the irrational
discourse within the culture of the British workers we shall have to look at
alternative sources.<span style="mso-spacerun: yes;"> </span>As I’ve already
indicated in the introduction, the sources I will be looking at are drawn from
the radical press of the 1880s and 1890s, and most of that from the pages of Justice
and The Clarion.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Another problem in compiling a study of the irrational
discourse of the working class movement is that, within the scarce material
that remains of any working class discourse, there is so little of it.<span style="mso-spacerun: yes;"> </span>Part of this is undoubtedly due to the
practical constraints the two papers had upon them.<span style="mso-spacerun: yes;"> </span>The arguments put forwards had to be clear
and concise to be convincing.<span style="mso-spacerun: yes;"> </span>Most of
the typed content of Justice and The Clarion was news reportage and engagement
with contemporary issues with the practical restrictions of a small press and
in the pared-down journalistic idiom.<span style="mso-spacerun: yes;">
</span>Compounding this is that the sort of place within these newspapers where
we might find some imaginative content, i.e. cartoons/illustrations are also
harder to produce on the smaller budget these papers had to work from.<span style="mso-spacerun: yes;"> </span>Justice, like some of its modern day
counterparts<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn159" name="_ftnref159" style="mso-footnote-id: ftn159;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[159]</span><!--[endif]--></span></span></a>
was not run as a business but rather for party propaganda and (some would argue
more importantly) as an organisational activity for the party.<span style="mso-spacerun: yes;"> </span>The Clarion did run at a profit, but a modest
one by the standards of the day.<span style="mso-spacerun: yes;"> </span>Much of
such fiction or poetry as did appear in the two newspapers was generally similar
to the naturalistic semi-autobiographical working class fiction I’ve mentioned
above.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">That said, within the odd articles, cartoons, bits of
fiction, songs and poetry that can be found, there was an interesting
reoccurrence of certain tropes that may give us a window into the hidden world
of the irrational discourse of the working class movement.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>A part of the rational discourse of
the Working class movement was Marxism.<span style="mso-spacerun: yes;">
</span>Although the influence of Marxism on the labour movement was limited in <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region> during
this period<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn160" name="_ftnref160" style="mso-footnote-id: ftn160;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[160]</span><!--[endif]--></span></span></a>
it was certainly known to the explicitly Marxist Social Democratic
Federation.<span style="mso-spacerun: yes;"> </span>Recently Marx’s biographer
Francis Wheen has called for the signature piece of Marx’s oeuvre,<span style="mso-spacerun: yes;"> </span>Das Kapital, to be re-evaluated as an
artistic achievement and the first masterpiece of Modernism.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn161" name="_ftnref161" style="mso-footnote-id: ftn161;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[161]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Whether this is wholly accurate is debatable,
but the artistic content of Kapital and its impact on the teratology of the
working class are undeniable.<span style="mso-spacerun: yes;"> </span>Marx’s
writings, and particularly the three volumes of Das Kapital, are full of Gothic
imagery, monsters, and literary and mythological allusion.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">So many of these images from Kapital recur through the
monstrous imagery of the working class movement in Britain that it is tempting
to regard it as an ur-text for this aspect of the creative output of the
movement.<span style="mso-spacerun: yes;"> </span>Certainly the Marxist SDF’s
newspaper Justice uses a lot of Marx’s gothic imagery in its editorials and
news reports.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">One particular image that seems to have had a lot of
mileage out of is that of the Vampire.<span style="mso-spacerun: yes;">
</span>It was Engels who first talked about the “vampire property holding
class”<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn162" name="_ftnref162" style="mso-footnote-id: ftn162;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[162]</span><!--[endif]--></span></span></a>
but Marx develops this into a consistent element of his characterisation of the
bourgeoisie’s condition and as an extension of his conception of the rule of,
“dead labour” over, “living labour”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn163" name="_ftnref163" style="mso-footnote-id: ftn163;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[163]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>As well as representing the aristocratic
upper classes in the mainstream gothic literature since the late Enlightenment,
the vampire in it’s act of parasitism - a dead creature feeding off the living
- could connote in very simple and emotive language the exploitative
relationship between the employer and employee.<span style="mso-spacerun: yes;">
</span>This connection is made quite specifically in Justice in an article on
shareholders in capitalist corporations, entitled “The Vampires of To-Day”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn164" name="_ftnref164" style="mso-footnote-id: ftn164;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[164]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The article doesn’t give any particularly
ghoulish details of misdeeds shareholders, its just a comment on figures that
had been released showing that returns were up for 1887 on the year before.<o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-RE7a3k0_vK0/Wt-coUa9wQI/AAAAAAAACdA/y0BjFra-R1QwWaUH4dva-_0LTsTKMi8pgCEwYBhgL/s1600/crane03large1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="1000" data-original-width="766" height="320" src="https://2.bp.blogspot.com/-RE7a3k0_vK0/Wt-coUa9wQI/AAAAAAAACdA/y0BjFra-R1QwWaUH4dva-_0LTsTKMi8pgCEwYBhgL/s320/crane03large1.jpg" width="245" /></span></a></div>
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<span style="font-family: "verdana" , sans-serif;">The Vampire theme is also presented in Walter Crane’s The
Capitalist Vampire,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn165" name="_ftnref165" style="mso-footnote-id: ftn165;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[165]</span><!--[endif]--></span></span></a>
which was a special commission for Justice.<span style="mso-spacerun: yes;">
</span>The symbolism is quite straightforward, the angel of socialism swooping
down to protect the stricken worker from the huge bat-dog creature of
capitalism, which has “Religious Hypocrisy” and “Party Politics” down each
wing.<span style="mso-spacerun: yes;"> </span>The content of the imagery is
rendered quite explicitly in the notice on the front page of the issue carrying
the cartoon: <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The glutinous, evil, loathsome, appearance which the artist
has given to the vampire “Capitalism” is worthy of the very creature which is
preying upon the very vitals of the people of <st1:country-region w:st="on"><st1:place w:st="on">England</st1:place></st1:country-region> and the world.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn166" name="_ftnref166" style="mso-footnote-id: ftn166;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[166]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<a href="https://1.bp.blogspot.com/-IYzyk1yh7eE/Wt-diZVCABI/AAAAAAAACeI/2l62A_czoYMK5LmEf4497AY8BzlZgc2dgCEwYBhgL/s1600/100_0213.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="1600" data-original-width="1113" height="320" src="https://1.bp.blogspot.com/-IYzyk1yh7eE/Wt-diZVCABI/AAAAAAAACeI/2l62A_czoYMK5LmEf4497AY8BzlZgc2dgCEwYBhgL/s320/100_0213.jpg" width="222" /></span></a><span style="font-family: "verdana" , sans-serif;">That said, the use of this Marxist-Gothic isn’t exclusive
to the press of an explicitly Marxist persuasion.<span style="mso-spacerun: yes;"> </span>Another of Marx’s most famous images from the
first paragraph of the Communist Manifesto, the spectre of Communism,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn167" name="_ftnref167" style="mso-footnote-id: ftn167;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[167]</span><!--[endif]--></span></span></a>
occurs in the Clarion in a cartoon from 1898.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn168" name="_ftnref168" style="mso-footnote-id: ftn168;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[168]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>That this would appear in The Clarion
suggests that Kapital wasn’t so much an Ur-Text for the movement (except
arguably within the metropolitan SDF) but drew on the same wider current of
imagery that was thrown up by the interaction of the new modes of production
with the earlier folk-culture from which the authors were removed by only a
generation or so removed.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Chris Baldick points out that Marx’s use of Gothic and
monstrous imagery is “no mere stylistic flourish, but a consistent ironic
reversal of the Bourgeoisie’s own myth”.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn169" name="_ftnref169" style="mso-footnote-id: ftn169;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[169]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Part of how Das Kapital works is the way it
constructs and personifies the capitalist system, not as the Old Testament
god-like world-balancer of Malthus or with the benevolent “hidden hand” of Adam
Smith, but as a monster.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Although we can’t make a case for the direct influence of Das
Kapital, this idea of the capitalist system as something unfathomably huge
recurs in various guises throughout the socialist and working class press of
the time.<span style="mso-spacerun: yes;"> </span>In an untitled cartoon in The
Clarion on the subject of the Trades Federation for example, Capital is clearly
depicted as a gigantic dragon-like monster menacing the much smaller figure of
the Worker.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn170" name="_ftnref170" style="mso-footnote-id: ftn170;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[170]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>While the picture referred to above is one of
defiance in the face of adversity, the Worker being armed like a mythic hero
with artefacts imbued with special properties, (the Shield marked Trades
Federation and protective armour marked Labour) himself towering over the
landscape at nearly the same scale as the monster, its more common to find the
system portrayed as a dark and malevolent godlike being.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The name Moloch is often used to signify the creature.<span style="mso-spacerun: yes;"> </span>In traditional medieval superstition (and <st1:city w:st="on"><st1:place w:st="on">Milton</st1:place></st1:city>’s Paradise Lost),
Moloch was associated with child-sacrifice.<span style="mso-spacerun: yes;">
</span>In this period, when Child labour was an on-going part of the reality of
labour, the metaphorical potency of the image was obvious.<span style="mso-spacerun: yes;"> </span>One example of this in the working class literature
is the short story, The Modern Moloch<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn171" name="_ftnref171" style="mso-footnote-id: ftn171;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[171]</span><!--[endif]--></span></span></a>
which originated in <st1:country-region w:st="on"><st1:place w:st="on">America</st1:place></st1:country-region>
but was reproduced in The Yorkshire Factory Times.<span style="mso-spacerun: yes;"> </span>In the story itself a Doctor visits a factory
and witnessess the death of an 11-year-old boy-worker.<span style="mso-spacerun: yes;"> </span>The story puts the responsibility for the
death on the prevailing conditions the child lived under, and though his father
beat the child to death, the title (Moloch is not mentioned in the text) and
the gothicised personification of the ‘ravenous’ machinery makes it very clear
where, in the opinion of the anonymous author, the cause of the death lies.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The Moloch archetype also seems to
have been part of the international socialist movement outside <st1:country-region w:st="on"><st1:place w:st="on">Britain</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>In Émile Zola’s 1885 industrial novel Germinal,
the coal pit the novel is set around is described in monstrous terms;<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif; font-weight: normal;">…huddled
in its lair like some evil beast, Le Voreaux crouched ever lower and its breath
came in longer and deeper gasps as though it were struggling to digest its meal
of human flesh.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn172" name="_ftnref172" style="mso-footnote-id: ftn172;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[172]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "verdana" , sans-serif; font-weight: normal;">The motif is also evident through the
period under discussion and into the early twentieth century.<span style="mso-spacerun: yes;"> </span>The Russian Marxist-Feminist pioneer,
Alexandra Kollontai uses the phrase, ‘the modern Moloch of capital’ in her
speech to the first International Women’s Socialist Conference at Stuttgart in
1907<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn173" name="_ftnref173" style="mso-footnote-id: ftn173;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[173]</span></span><!--[endif]--></span></span></a>
and Fritz Liang’s impressionist Science Fiction masterpiece Metropolis also
contains a scene where the protagonist has a vision wherein the factory the
workers toil to maintain becomes Moloch – identified as such by a rather
striking intertitle with the letters M O L O C H splayed across the screen in
the Modernist style.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>What all this represents for the
workers’ movement is the expression within the irrational discourse of a
particular strain of the radical critique of capitalism.<span style="mso-spacerun: yes;"> </span>This critique is the idea that capitalism is
not just a form of economic activity, but constitutes a religion.<span style="mso-spacerun: yes;"> </span>Earlier elements of this idea appear in the
works of some pre-Marxist thinkers, but Marx first iterates it with rigour in
his theory of commodity fetishism.<span style="mso-spacerun: yes;"> </span>Marx
borrows the term ‘fetishism’<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn174" name="_ftnref174" style="mso-footnote-id: ftn174;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[174]</span><!--[endif]--></span></span></a>
from the early sociology of religion to describe the way in which capitalism
imbues objects with certain transcendental characteristics to turn them into
commodities and the humans that produce them into objects of labour.<span style="mso-spacerun: yes;"> </span>The German Marxist Walter Benjamin would
later broadly examine the idea of capitalism as a religion from a sociological
perspective, equating the department store with the Cathedral and consumerism
with an abstracted form of piety.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>The implications for the mentality of
those engaged in the movement are more complicated.<span style="mso-spacerun: yes;"> </span>For Christian socialists this would have
further grist to their theological mills, identifying capitalism and capitalist
practice as another faith in an antagonistic relationship with their own.<span style="mso-spacerun: yes;"> </span>For secular socialists, to expose and
reinforce the idea that capital is a religion is to strengthen the notion of
capitalism as a set of rules and ideas, something that is essentially man-made
and can be overcome by alternative ideas (which is itself the root of another
idea that originates with Marx, Historical Materialism).<span style="mso-spacerun: yes;"> </span>The status quo likes to present itself as
natural and inevitable, and these notions are undermined by conceptualising capitalism
as a religion.<span style="mso-spacerun: yes;"> </span>In other words these
early socialists are inching towards the intellectual currents of the
mid-to-late twentieth century.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Conversely, one aspect of these images is the size of the
creatures in relation to the workers and the implicit capacity of a god to reek
havoc and destruction.<span style="mso-spacerun: yes;"> </span>We have to
remember that although the socialist movement is growing they are still small
as a proportion of the population, and also that while the power of the
institutions of the working classes is growing they still remain in a vulnerable
position.<span style="mso-spacerun: yes;"> </span>This god-like rendering of the
capitalist state might just as well reflect anxieties about the scale of what
they are facing and the immensities of the tasks set for them.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>One article in Justice entitled “The Modern
Minotaur”<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn175" name="_ftnref175" style="mso-footnote-id: ftn175;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[175]</span><!--[endif]--></span></span></a>
made extensive and telling use of both the Vampiric and Molochian imagery at
the same time;<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Well might the fable of the Cretan Minotaur, the monster
who could only be appeased by a sacrifice of young virgins, have been the
foreshadowing of the horrors engendered by the Capitalist system.<span style="mso-spacerun: yes;"> </span>Country after country and race after race
have been sacrificed to the insatiable and beastly greed of the
capitalists.<span style="mso-spacerun: yes;"> </span>Only by blood can the
system be kept alive.<span style="mso-spacerun: yes;"> </span>Once more we are
in a period of industrial depression ; all the markets of the “civilised” world
are glutted, and it is necessary that the maidenhead of a fresh market be
taken.<span style="mso-spacerun: yes;"> </span><st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region> is the country to be
delivered up this time and already the capitalist press is making merry over
the prospect of its master’s strength being renewed by fresh draughts of a
nation’s life blood.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn176" name="_ftnref176" style="mso-footnote-id: ftn176;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[176]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>There are three things that are
interesting about the above quotation.<span style="mso-spacerun: yes;">
</span>Firstly the fluidity between the use of the quasi-religious and vampiric
imagery suggests that in the construction of the capitalist system these were
not discreet categories, rather they fed into and supported each other.<span style="mso-spacerun: yes;"> </span>Secondly, the imagery is overtly sexual and
penetration of the market into new areas is not merely sexual but rapacious.<span style="mso-spacerun: yes;"> </span>This I feel is related to the third point,
the context shown in the article, i.e. the opening up of <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region> by the
west.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Generally speaking, one could read
this as an extension of and reaction two the sexual nature of imperialism
within the irrational discourse, for example in the presentation of <st1:place w:st="on">Africa</st1:place> in the novels of Rider Haggard.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn177" name="_ftnref177" style="mso-footnote-id: ftn177;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[177]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Furthermore, in the various articles in Justice
I’ve come across the most common topic for those that contain a use of
monstrous imagery is imperialism and empire.<span style="mso-spacerun: yes;">
</span>It is hard to say why this is, but I would hypothesise one reason is
that when discussing domestic issues such flourishes would be unnecessary as
the target audience, the metropolitan working classes, would have their own
experiences to draw on, in presenting news about the empire it becomes necessary
to imaginatively recreate the world, just as imperialists imaginatively
recreate the empire themselves in order to colonise it.<span style="mso-spacerun: yes;"> </span>On the one hand the colonial discourse gives
us the good coloniser; - the Christian Soldier, the Missionary or the <st1:place w:st="on">Rhodes</st1:place> figure.<span style="mso-spacerun: yes;"> </span>To
combat this one needed to present the other side, the “Ghouls” who desecrated
the grave of the Mahdi after the re-taking of the <st1:country-region w:st="on"><st1:place w:st="on">Sudan</st1:place></st1:country-region><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn178" name="_ftnref178" style="mso-footnote-id: ftn178;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[178]</span><!--[endif]--></span></span></a>
or the “Gold Greedy Ghouls”<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn179" name="_ftnref179" style="mso-footnote-id: ftn179;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[179]</span><!--[endif]--></span></span></a>
who were behind the aggression against the Boers.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Another way to engage with the monstrifying tropes of the
dominant cultural hegemony is to agree with them while subverting their
implications to the ends of the working class movement. Getting back for a
moment to the discourse around the notion of degeneration, again we can see the
rhetorical tactic of inversion in the way that the polemicists of the workers
movement appropriated this discourse and turned it around to their own
ends.<span style="mso-spacerun: yes;"> </span>For example, Daniel Pick has
pointed out that the social reality of degeneration was even in evidence in the
great socialist novel, The Ragged Trousered Philanthropists, though it was
articulated to demonstrate the necessity of socialist revolution<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn180" name="_ftnref180" style="mso-footnote-id: ftn180;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[180]</span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>This can also be seen in a story that
appeared in Justice, ‘A Fairy Tale for Tired Socialists’<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn181" name="_ftnref181" style="mso-footnote-id: ftn181;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[181]</span><!--[endif]--></span></span></a>.<span style="mso-spacerun: yes;"> </span>The story itself is a fairly straightforward
didactic allegory of the workers place in society, it begins with a man in a
land of plenty who could take advantage of the riches and wonders around him
because of the various ‘enchantments’ laid on him, e.g. Custom, Fear etc.<span style="mso-spacerun: yes;"> </span>Of particular relevance is the section on how
the ‘enchantment’, effected his physical appearance;<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">And through enchantment the man became ugly and evil
visaged.<span style="mso-spacerun: yes;"> </span>His hands became course and
hard, his back bent and his brows lowering and beetled, for, because of the
enchantment, he had to toil long and labouriously.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn182" name="_ftnref182" style="mso-footnote-id: ftn182;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[182]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">While there are similarities here between the description
of the man in the story and gothic depictions of the urban worker<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn183" name="_ftnref183" style="mso-footnote-id: ftn183;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[183]</span><!--[endif]--></span></span></a>,
by putting the emphasis on the labour as the cause of the deformity it removes
the taint of the hereditary explanation.<span style="mso-spacerun: yes;">
</span>The discourse of degeneration was partly rooted in the social reality of
a real disparity in the physical condition of the classes, a reality and a potential
grievance which socialists could exploit.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>Similarly, the socialist press could
also take the monstrous characterisation of themselves by the upper classes and
ironically represent it in such a way as to highlight the absurdity of it.<span style="mso-spacerun: yes;"> </span>In 1892 the Clarion published a cartoon in
response to a letter from the Duchess of Portland to the Primrose League in
1892.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn184" name="_ftnref184" style="mso-footnote-id: ftn184;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[184]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>The part of the letter quoted was an attack
on;<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Those mischievous and dishonest men
who attempt, for their own selfish glorification and advantage, to set class
against class and stir up ill feeling.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn185" name="_ftnref185" style="mso-footnote-id: ftn185;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[185]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The cartoon above the excerpt depicts the socialist
agitator in full demonic form with horns, cats-eyes and a spiked tail
protruding from under his greatcoat.<span style="mso-spacerun: yes;"> </span>By
responding to this attempt to demonise socialists in such a direct manner the
cartoonist was able to highlight in a comical manner the ridiculousness of the
statement.<span style="mso-spacerun: yes;"> </span>Bakhtin said of the
subversive nature of laughter that it purifies the consciousness of men from
what is false<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn186" name="_ftnref186" style="mso-footnote-id: ftn186;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[186]</span><!--[endif]--></span></span></a>
and bring those at all levels of society to the same standing.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn187" name="_ftnref187" style="mso-footnote-id: ftn187;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[187]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>This spirit is very much in evidence in this
cartoon as well most of the humorous depictions of members of capitalists and
landlords in The Clarion e.g. the depictions of the wealthy as grotesque
animal-men in ‘Piggy’s Property’<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn188" name="_ftnref188" style="mso-footnote-id: ftn188;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[188]</span><!--[endif]--></span></span></a>
and ‘The Crocodile MP’.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn189" name="_ftnref189" style="mso-footnote-id: ftn189;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[189]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>There is certainly a strong contrast between
this playful use of man-animal imagery in these cartoons and the animalistic
construction of the working class in the contemporary popular literature.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">The depiction of the ‘Socialist Agitator as Monster’ also
raises another issue, that of identification with the Monster.<span style="mso-spacerun: yes;"> </span>We have already come across this apparently
contradictory desire to reconstruct yourself as a monster, in Marx’s assertion
in the Manifesto of the Communist Party that they, the movement that he was a
part of, are the spectre Haunting Europe.<span style="mso-spacerun: yes;">
</span>Obviously a large part of this is the desire to be a threat and
therefore to be feared by the enemies of the movement.<span style="mso-spacerun: yes;"> </span>Going back to the theories around Monsters in
art and literature we find the idea of the monster as existing always at the
point of immanence, on the edge of becoming.<span style="mso-spacerun: yes;">
</span>This too could be said to be related to the movement and it’s sense of
itself and the new world it was going to bring into reality, at the point of
immanence forcing its way out of the idea-space of socialist and labour
discourse and into the real world. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">At this point in this section on monstrous imagery in the
working class press I feel that it is important to raise the issue of
Anti-Semitism in fin de seicle working class culture.<span style="mso-spacerun: yes;"> </span>This aspect of the working class culture and
specifically socialist culture has drawn a lot of attention from both academia
and the media, particularly in the <st1:country-region w:st="on"><st1:place w:st="on">United States</st1:place></st1:country-region>.<span style="mso-spacerun: yes;"> </span>It has been argued that the Clarion editor
Robert Blatchford was an anti Semite and likewise the editors of Justice, as
well as many members of the Labour and Socialist movements.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">While these claims are not without some validity and
textual support, it is fair to point out that this particular argument is
historically locatable within a wider public discourse of an attack on
socialism and the contemporary left, wherein an Anti-Semitic conspiracy theory,
most commonly associated with the European far-in the inter-war period, is
identified as one of the dominant themes within the discourses of the Socialist
movement, retroactively read into the writings of Marx and projected forwards
through the late nineteenth-century socialist movement, fascism and the
Holocaust into the post war left and new left.<span style="mso-spacerun: yes;">
</span>It constructs Marx as, at best, a self hating Jew and at worst, a rabid
anti-Semite<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn190" name="_ftnref190" style="mso-footnote-id: ftn190;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[190]</span><!--[endif]--></span></span></a>
and Adolph Hitler as a closet Marxist.<span style="mso-spacerun: yes;">
</span>As such it can be considered as a monstrous construction of the left by
the mainstream discourse, one that is on occasion utilised by factional
elements within the far-left against other leftist groupings.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn191" name="_ftnref191" style="mso-footnote-id: ftn191;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[191]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>As well as basically reconstructing Socialism
and Marxism as being responsible for (and equivalent to) Nazism,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn192" name="_ftnref192" style="mso-footnote-id: ftn192;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[192]</span><!--[endif]--></span></span></a>
this argument of ‘Left’, anti-Semitism or, “The New Anti-Semitism”, serves the
more immediate purpose of stifling debate about Zionism, criticism of Israel
with regards to the human rights of the Palestinians and the actions of the US
in the middle east.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn193" name="_ftnref193" style="mso-footnote-id: ftn193;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[193]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">That said, we cannot afford to excuse or whitewash the
Victorian socialists and labour men for there was undoubtedly some anti-Semitic
sentiment within the writings of some Victorian socialists.<span style="mso-spacerun: yes;"> </span>However this fact has to be appreciated in a
context where the association between Judaism and capital had become part of
what Gramsci refers to as “common-sense” the disjointed body of uncritically
absorbed thought common to a particular period.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn194" name="_ftnref194" style="mso-footnote-id: ftn194;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[194]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>For example Robert Blatchford’s use of the
term ‘Jew’ and reference to Jewish bankers in some of his illustrative examples
in Merrie <st1:country-region w:st="on"><st1:place w:st="on">England</st1:place></st1:country-region>
reveals an axiomatic association between Jewishness and certain aspects of
capitalist practice.<span style="mso-spacerun: yes;"> </span>Justice too
contains reference to Jewish Banking houses and the interests of financial
dynasties like the Rothschilds being behind imperial wars and military expeditions.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">That said, within these socialist discourses there is an
absence of the sort of extreme racialist discourse that one tends to associate
with fascist anti-Semitism.<span style="mso-spacerun: yes;"> </span>There
doesn’t appear to be any harking back to old Myths, such as the blood libel and
killing of Christian babies for use in sorcery.<span style="mso-spacerun: yes;">
</span>While absence of evidence is not evidence of absence, it is certainly a
good indication.<span style="mso-spacerun: yes;"> </span>If anti-Semetism was as
ubiquitous as it has been suggested<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn195" name="_ftnref195" style="mso-footnote-id: ftn195;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[195]</span><!--[endif]--></span></span></a>
one would have expected to have found some evidence of it in the pictorial
representations of capitalism in the socialist press.<span style="mso-spacerun: yes;"> </span>In theory, one could make a case for a
connection between the Moloch imagery and anti-Semitic imagery, but that would
have to hinge on the use of child sacrifice as an emotive in each, though child
sacrifice is a common recurring motif in monstrous imagery in western culture
that predates both capitalism and anti-Semitism.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">Furthermore, in Justice at least, such anti-semetic
sentiment as did exist did not go unchallenged.<span style="mso-spacerun: yes;">
</span>After reference to “Jew-Jingo backers” of the mainstream newspapers in a
piece on pro-war jingoism during what we now know was the prelude to the Boer
war<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn196" name="_ftnref196" style="mso-footnote-id: ftn196;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[196]</span><!--[endif]--></span></span></a>,
a Jewish Social Democrat began a correspondence within the letters pages of the
paper<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn197" name="_ftnref197" style="mso-footnote-id: ftn197;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[197]</span><!--[endif]--></span></span></a>
in which an extremely complex and nuanced debate on the paper’s own use of
anti-Semitic imagery emerged.<span style="mso-spacerun: yes;">
</span>Essentially the editors argued that they were not anti-Semitic, having a
great sympathy for working class Jews and pointing out that many of their
leading comrades were of Jewish extraction, including the recently deceased
Frederick Engles and Eleanor Marx, while at the same time they felt justified
in their hatred of wealthy capitalists, many of whom happened to be
Jewish.<span style="mso-spacerun: yes;"> </span>On the other hand, Jewish Social
Democrats and their supporters wrote that they did not feel that it was
appropriate to single out Jewish capitalists and warned of the dangers of using
that sort of imagery, i.e. Alienating Eastern European Jewish immigrants
against the working class movement who could then be used as scab labour to
break strikes, or losing SDF supporters to other metropolitan left groups such
as the Anarchists, or even the early Zionist movement.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn198" name="_ftnref198" style="mso-footnote-id: ftn198;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[198]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">What emerges from the historical record is that this was a
period of the history of the socialist movement when many of the complex
discourses around race and class (and for that matter gender) where still in
their early stages and had yet to achieve the level of sophistication that we
in the present have only come to through a long period of struggle and the
experiences of the twentieth century.<span style="mso-spacerun: yes;">
</span>Nationalism, Anarchism, socialism and undigested cultural, economic and
social scientific theories from earlier periods of struggle sat together in
ways we would find quite strange today.<span style="mso-spacerun: yes;">
</span>Anti-Semetism within the early socialist discourse is undeniable, but to
expect otherwise from a society so steeped in racialism would be anachronistic
and to use this as a stick to beat contemporary socialists seems perverse.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">So, what then can we say in conclusion of the teratology of
the Working class movement in Victorian Britain?<span style="mso-spacerun: yes;"> </span>One consistent motif that can be seen in the
cartoon images in the socialist press, in the imagery of the socialist news
reportage and in Marx’s use of the gothic, is the process of inversion and
reversal.<span style="mso-spacerun: yes;"> </span>Rituals of reversal have a
long history in pre-industrial traditional culture across the world.<span style="mso-spacerun: yes;"> </span>In some sense we can see this inverting trend
in the radical culture as a continuation of this tradition, probably not handed
down directly but more indicative of the same subversive thought process at
work transported to a different age and type of media culture.<span style="mso-spacerun: yes;"> </span>As we have seen before, the monstrous
construction of the British working class has its origins in the simian racial
construction of the Irish in the decades previous to the fin-de seicle.<span style="mso-spacerun: yes;"> </span>It is here too that we can see this sort of
subversion of monstrifying tropes in Cartoons that parody the Simian Irish of
the British popular press.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn199" name="_ftnref199" style="mso-footnote-id: ftn199;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[199]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>In a tradition within the Irish press that
would continue into the next century, these Irish cartoonists turned Tenniel’s
images of the Irish on their head by, for example, depicting grotesque English
bodies<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn200" name="_ftnref200" style="mso-footnote-id: ftn200;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[200]</span><!--[endif]--></span></span></a>
and the figure of Punch introducing the monstrously constructed Irishman from
his own pages to “The Jarvey”, the figurehead of an Irish Journal by the same
name.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn201" name="_ftnref201" style="mso-footnote-id: ftn201;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[201]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>And so too it was with The Clarion cartoons
depicting workers as heroes out of legend while the upper classes are treated
if not as monsters then at least as absurd.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "verdana" , sans-serif;">In the context, the use of inversion seems highly
appropriate.<span style="mso-spacerun: yes;"> </span>The word “Revolution” comes
from mechanics and refers to turning a wheel through 360 degrees.<span style="mso-spacerun: yes;"> </span>By inverting, by turning the images they were
presented with on their heads, the propagandists were turning their culture
towards something better and trying to turn the world upside down and into
something better.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center; text-indent: 36pt;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-vZ_qC-HoLSo/Wt-npVGm2oI/AAAAAAAACeM/9iZZmjlDCe8FmfFBJ6F_FjABifys2cbNACLcBGAs/s1600/jmonst.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" data-original-height="736" data-original-width="640" height="320" src="https://2.bp.blogspot.com/-vZ_qC-HoLSo/Wt-npVGm2oI/AAAAAAAACeM/9iZZmjlDCe8FmfFBJ6F_FjABifys2cbNACLcBGAs/s320/jmonst.jpg" width="278" /></span></a></div>
<div class="MsoNormal" style="text-align: center; text-indent: 36pt;">
<span style="font-family: "verdana" , sans-serif;"><o:p><br /></o:p></span></div>
<h1 align="center" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: small;">Chapter 4<o:p></o:p></span></h1>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "verdana" , sans-serif;">Conclusions<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">To
conclude this study I would like to reflect on the analytical technique used in
and developed over the previous chapter and the strengths and limitations of
the various elements of theory discussed in the first chapter.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">From our
analysis of the various theoretical approaches to the Monster in Chapter 3 it
is apparent that monsters are objectified representations that are supposed to
cause unease or anxiety in the reader.<span style="mso-spacerun: yes;">
</span>The question then becomes one of how these representations produce this
anxiety.<span style="mso-spacerun: yes;"> </span>While a lot of the anxieties articulated
by monsters are rooted in near-universal existential concerns with our
mortality and physical integrity,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn202" name="_ftnref202" style="mso-footnote-id: ftn202;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[202]</span><!--[endif]--></span></span></a>
clearly the root of many of these anxieties are in the socio-cultural context,
that is the anxiety is drawn from the environment of the monster. Throughout
this project it has been my premise that Monsters, because of their function
within the narratives they inhabit, are the detritus of their cultural context,
a collection of all the negative, fearful things that provoke a crisis for that
culture.<span style="mso-spacerun: yes;"> </span>Whether it is through the upsetting
effect of violating established schema,<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn203" name="_ftnref203" style="mso-footnote-id: ftn203;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[203]</span><!--[endif]--></span></span></a>
unreason intruding into bourgeois space<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn204" name="_ftnref204" style="mso-footnote-id: ftn204;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[204]</span><!--[endif]--></span></span></a>
or the guilty conscience of those of us who knowingly violate the social order,
the monster can embody any of these things and is most successful when it can
embody many anxieties simultaneously.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn205" name="_ftnref205" style="mso-footnote-id: ftn205;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[205]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"><span style="mso-spacerun: yes;"> </span>Therefore </span>the monster is a textual record in which social anxieties
can be read, and as I hope I established in the last chapter, there is much
that can be read in them that can enlighten and challenge pre-conceived notions
of how people thought and felt.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">The theory
of monsters as I have developed it over the course of this project has, I feel,
the potential to open up topics to new understandings of the irrational
discourses that underlie and sustain their corresponding rational discourses.<span style="mso-spacerun: yes;"> </span>One could easily imagine, for example, a
project very much like this one, with the same format and analytical approach,
which took the discourses around the women’s movement or the issue of sexuality
as its subject.<span style="mso-spacerun: yes;"> </span>Also, while the
importance of the notion of a rational and irrational discourse would seem to
limit the applicability of the theory to the late modern period I would argue
that this need not be the case as long as we understand that <span lang="EN-US">prior
to the Enlightenment the two discourses shared a common space in the intellectual
life of the period.<span style="mso-spacerun: yes;"> </span>The great thinkers
of the previous centuries often had interests across the range of science and
mysticism.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn206" name="_ftnref206" style="mso-footnote-id: ftn206;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[206]</span></span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>In Adornian terms, one might say that as
pre-enlightenment societies were structured around naked authority,
particularly when that had a legitimacy based on metaphysics, of course the
irrational and symbolic would have been more prevalent in the discourses of the
time.<span style="mso-spacerun: yes;"> </span>The marginalising of the
irrational discourse by the revolutionaries of the Enlightenment can then be
contextualised as the de-legitimising of the old order.<span style="mso-spacerun: yes;"> </span>Considering this, one could envision medieval
culture as a particularly fecund resource for projects of this type and
involving the same theoretical approach.</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Some
limitations of the approach that we should be aware of are general to any
analysis that involves psychological analysis as a means of inquiry.<span style="mso-spacerun: yes;"> </span>If E.M. Jones’s Monsters From The Id showed
us anything its that it is very easy to impute your own prejudices into the
material.<span style="mso-spacerun: yes;"> </span>However these issues are not
insurmountable.<span style="mso-spacerun: yes;"> </span>One of the problems with
Jones’s book was that while the author had clearly read around the subject it
appears that he had only read far enough to confirm his own bias.<span style="mso-spacerun: yes;"> </span>As such he recycles some of the myths from
areas of scholarship that lack academic rigour, such as most of the material
around Dracula.<span style="mso-spacerun: yes;"> </span>For example he repeats
the idea that Bram Stoker suffered from syphilis and that this had a major
impact on the development of the moral themes within the novel.<span style="mso-spacerun: yes;"> </span>However, while the vampirism-syphilis
connection is extremely pervasive<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn207" name="_ftnref207" style="mso-footnote-id: ftn207;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[207]</span><!--[endif]--></span></span></a>,
it has also been discredited and traced to one of Stoker’s relatives attempting
to cash in on the family legacy with spurious gossip.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn208" name="_ftnref208" style="mso-footnote-id: ftn208;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[208]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>So, while there are issues we have to
consider when undergoing this type of research, mindfulness, rigour and good
historical practice can help us balance our own natural tendency to impute our
own partiality into the sources.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Of the
topics that I proposed to examine over the course of the project I believe I
managed to cover the majority of them to some degree and I am satisfied with
how I was able to engage with the main issues.<span style="mso-spacerun: yes;">
</span>There is one issue however I don’t feel was adequately covered in the
previous pages.<span style="mso-spacerun: yes;"> </span>This is the notion of
“Audiences”, i.e. how audiences engaged with fiction and in this case how they
responded to monsters within their culture. Like monster theory the study of
audiences is a relatively recent phenomenon with many intriguing possibilities
and they share common concerns.<span style="mso-spacerun: yes;"> </span>While
some of this was touched on in the section on the epistemological function of
monstrous imagery, there is a lot more to be said.<span style="mso-spacerun: yes;"> </span>Noel Carroll devotes a lengthy section of his
book to the paradox of why we can be scared by things we know not to be real,
and concludes that while we are aware of things as fictional we can think
ourselves into a state of genuine horror.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn209" name="_ftnref209" style="mso-footnote-id: ftn209;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[209]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>On the other hand, Jonathan Rose has some
empirical evidence that some audiences engaged with the fictive by embracing it
as reality.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn210" name="_ftnref210" style="mso-footnote-id: ftn210;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[210]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>Unfortunately the way the project developed I
wasn’t able to engage with this apparent contradiction, simply because I didn’t
come across any sources relevant to the question, but this is something that
could be engaged with in the future, and there is even some potential to bring
a specifically Marxist perspective to the subject.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn211" name="_ftnref211" style="mso-footnote-id: ftn211;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[211]</span><!--[endif]--></span></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Finally,
in terms of developing a Marxist approach to monsters I feel that I shown the
relevance of the Marxist tradition to the study of cultural history even in
this supposedly post-theory, post-Marxist and post-modern age.<span style="mso-spacerun: yes;"> </span>The retreat from Marxism towards the
post-modern condition of fragmentation and unease with any consistent theory
can be traced to the historical circumstances of the last decades, i.e. the
general assault on the gains made by the generation who came out of the 1960s
throughout all of western society<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn212" name="_ftnref212" style="mso-footnote-id: ftn212;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[212]</span><!--[endif]--></span></span></a>
and the stultification of Marxism by its relationship to the Soviet Union.<span style="mso-spacerun: yes;"> </span>The <st1:place w:st="on">Soviet Union</st1:place>
is no more and we appear to be entering a period of crisis both like and unlike
that faced by the last generation who brought Marxism to the level of orthodoxy
within academic discourse before the counter-revolution of the
nineteen-eighties and nineties.<span style="mso-spacerun: yes;"> </span>As my
generation faces its own struggles and we seek to understand the world and the
situations we are presented with we will have this inheritance to draw on,
informed and strengthened by the critiques made over these last decades.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">China
Miéville raised a very interesting point at his lecture.<a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftn213" name="_ftnref213" style="mso-footnote-id: ftn213;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[213]</span><!--[endif]--></span></span></a><span style="mso-spacerun: yes;"> </span>If monsters are the product of social
anxieties then come-the-revolution, after we have purged the world of all evil
violence and oppression to enjoy it to the full and throttled the last
capitalist with the guts of the last priest, will there still be monsters?<span style="mso-spacerun: yes;"> </span>It’s hard to say.<span style="mso-spacerun: yes;"> </span>While capitalism in its current form will
certainly end at some point in the future, and what it is replaced with may be
qualitatively better, I find it hard to envision a complete end to human misery
and struggle.<span style="mso-spacerun: yes;"> </span>Who could possibly know
what monsters will be born from the next stage of human society, but monsters
have always been there to terrify us and help us engage with our fears.<span style="mso-spacerun: yes;"> </span>In other words, we are the monster, we will
slay the monster and some day we will continue to create monsters of our own.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US"><br clear="all" style="page-break-before: always;" />
</span>
</span><br />
<h1>
<span style="font-family: "verdana" , sans-serif; font-size: small;">Bibliography<o:p></o:p></span></h1>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Adorno, T.W., The Stars Down to Earth and Other Essays
on the Irrational in Culture (New York: Routledge, 1994)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Adorno, T.W. et al., The Authoritarian Personality
(New York: Harper and Low, 1950)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Allingham, P.V., ‘The Victorian Short Story: A Brief
History’ (<http: genre="" pva300.html="" www.victorianweb.org="">)<o:p></o:p></http:></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><st1:place w:st="on"><st1:city w:st="on"><span lang="EN-US">Arata</span></st1:city><span lang="EN-US">,
<st1:state w:st="on">S.D.</st1:state></span></st1:place><span lang="EN-US">, Fictions
of Loss in the Victorian Fin de Siecle (Cambridge: Cambridge University Press,
1998)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Bakhtin, Mikhail, (Iswolsky, Hélene Trans.) Rabelais
and His World (Bloomington: Indiana University Press, 1984)<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US">Draper, Hal, ‘</span>Marx and the Economic-Jew Stereotype’ in Karl Marx’s Theory
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Engles, Frederick, The Conditions of the Working Class
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US">Hirtschop, K. and Shepherd, D., Bakhtin and Cultural
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Hurley, Kelly, The Gothic Body: Sexuality, Materialism
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Jones, E. Micheal, Monsters from the Id (<st1:state w:st="on"><st1:place w:st="on">New York</st1:place></st1:state>: Spence
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Jones, Gareth Steadman, Outcast <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>; A Study in the Relationship Between
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Le Fanu, John Sheridan In A Glass Darkly (Oxford:
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;"><span style="mso-tab-count: 1;"> </span>- <st1:city w:st="on"><st1:place w:st="on">Tracy</st1:place></st1:city>, R. ‘Introduction’
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<span style="font-family: "verdana" , sans-serif;"><st1:city w:st="on"><span lang="EN-US">Meiville</span></st1:city><span lang="EN-US">,
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Miller, Elizabeth, Dracula; Sense and Nonsense – New
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Monleon, José B., A specter in haunting <st1:place w:st="on">Europe</st1:place>: a Socio-historical Approach to The Fantastic
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<span style="font-family: "verdana" , sans-serif;">Mulch, D. English
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<span style="font-family: "verdana" , sans-serif;">Nevins,
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<span style="font-family: "verdana" , sans-serif;">Pick,
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<span style="font-family: "verdana" , sans-serif;">Rose,
Jonathan, The Intellectual Life of the British Working Classes (<st1:city w:st="on">New Haven</st1:city>: <st1:place w:st="on"><st1:placename w:st="on">Yale</st1:placename>
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<span style="font-family: "verdana" , sans-serif;">Rose,
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<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Smith, Andrew, Victorian Demons; Medicine Masculinity
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Todorov,
T. The Fantastic (Ithaca: Cornell University Press, 1973)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Tomaszewska,
M. Vampirism and the Degeneration of the Imperial Race - Dracula as the
Degenerative Imperial Other (<http c="" drc="" images="" monika="" rtc.="" www.blooferland.com="">)<o:p></o:p></http></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Walkowitz,
J. City of Dreadful Delight: Narratives of Sexual Danger in Late-Victorian <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city> (London: Virago,
1992)<span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Warner, <st1:city w:st="on"><st1:place w:st="on">Marina</st1:place></st1:city>
Managing Monsters: Six Myths of Our Time (London: Vintage, 1994)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Waters, C. British Socialists and the Politics of
Popular Culture 1884-1914 (Manchester: Manchester university Press, 1990)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Wells, H.G. The <st1:placetype w:st="on">Island</st1:placetype>
of <st1:placename w:st="on">Doctor Moreau</st1:placename> (<st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Penguin Classics, 2005)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Wells, H.G. The Time Machine (<st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>: Penguin Classics, 2005)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Wheen, Francis, Marx’s Das Kapital: A Biography
(Bodmin: Atlantic, 2006)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "verdana" , sans-serif;">Williams, Raymond, Problems in Material and Culture
(London: Verso Books, 1980)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-US">Williams, Raymond, The Long Revolution (Reading:
Penguin, 1961)</span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Zola,
Émile, Germinal (Harmondsworth: Penguin, 1954)<span lang="EN-US"><o:p></o:p></span></span></div>
<div style="mso-element: footnote-list;">
<!--[if !supportFootnotes]--><span style="font-family: "verdana" , sans-serif;"><br clear="all" /></span>
<br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[1]</span><!--[endif]--></span></span></a> R.
Chartier, <i style="mso-bidi-font-style: normal;">Cultural History</i> p.13</span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[2]</span><!--[endif]--></span></span></a> This is
sometimes referred to as Teratology, a term borrowed from medical science in
which it refer’s to the study of birth deformities.</span></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[3]</span><!--[endif]--></span></span></a> With the
odd exceptions, such as the title piece in R.F. Foster’s <i style="mso-bidi-font-style: normal;">Paddy and Mr Punch</i>, which sparked off a debate amongst historians
of Irish – British relations that runs to this day.</span></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[4]</span><!--[endif]--></span></span></a> Indeed,
several history professors have contributed papers to the conferences of the
Monsters and the monstrous conferences that have been held annually since 2003
(<a href="http://www.wickedness.net/Monsters/monsters.htm">http://www.wickedness.net/Monsters/monsters.htm</a>)
under the auspices of the inter-disciplinary.net project (<a href="http://www.inter-disciplinary.net/">http://www.inter-disciplinary.net/</a>).</span></div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[5]</span><!--[endif]--></span></span></a> R.
Luckhurst, ‘<span lang="EN-US" style="mso-ansi-language: EN-US;">Introduction’ in<i style="mso-bidi-font-style: normal;"> Late Victorian Gothic Tales</i> p.xvi</span></span></div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[6]</span><!--[endif]--></span></span></a> P.
Burke, <i style="mso-bidi-font-style: normal;">History and Social Theory</i>
pp101-4.</span></div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[7]</span><!--[endif]--></span></span></a> J.
Walkowitz, <i style="mso-bidi-font-style: normal;">City of Dreadful Delight</i>.</span></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[8]</span><!--[endif]--></span></span></a> C.
Frayling, <i style="mso-bidi-font-style: normal;">Nightmare: the Birth of Horror</i>.</span></div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[9]</span><!--[endif]--></span></span></a> J.J.
Cohen (ed.) Monster Theory.</span></div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[10]</span><!--[endif]--></span></span></a> J.J.
Cohen ‘Monster Culture (Seven Theses)’, in J.J. Cohen (ed.) Monster Theory.</span></div>
</div>
<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[11]</span><!--[endif]--></span></span></a> The
term ‘Science Fiction’ wouldn’t be coined until the Pulp magazine boom in 1920s
<st1:country-region w:st="on"><st1:place w:st="on">America</st1:place></st1:country-region>.</span></div>
</div>
<div id="ftn12" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[12]</span><!--[endif]--></span></span></a> Mainly
in <i style="mso-bidi-font-style: normal;">Punch</i>.</span></div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[13]</span><!--[endif]--></span></span></a> And by
extension, global culture.</span></div>
</div>
<div id="ftn14" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[14]</span><!--[endif]--></span></span></a> e.g. <i style="mso-bidi-font-style: normal;">The Clarion</i>, <i style="mso-bidi-font-style: normal;">The Workman’s Times</i> and <i style="mso-bidi-font-style: normal;">The
Yorkshire Factory Times</i>.</span></div>
</div>
<div id="ftn15" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[15]</span><!--[endif]--></span></span></a> E.g. <i style="mso-bidi-font-style: normal;">To-Day</i>, <i style="mso-bidi-font-style: normal;">Our Corner </i>and <i style="mso-bidi-font-style: normal;">Commonwealth</i>.</span></div>
</div>
<div id="ftn16" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[16]</span><!--[endif]--></span></span></a> D.
Mulch, English Socialist Periodicals, 1880-1900, p.xxii.</span></div>
</div>
<div id="ftn17" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref17" name="_ftn17" style="mso-footnote-id: ftn17;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[17]</span><!--[endif]--></span></span></a> D.
Mulch. p.xviii.</span></div>
</div>
<div id="ftn18" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref18" name="_ftn18" style="mso-footnote-id: ftn18;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[18]</span><!--[endif]--></span></span></a> Which
itself published <i style="mso-bidi-font-style: normal;">Clarion Cyclist’s
Journal</i>.</span></div>
</div>
<div id="ftn19" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref19" name="_ftn19" style="mso-footnote-id: ftn19;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[19]</span><!--[endif]--></span></span></a> Tom
Mann or exanple.</span></div>
</div>
<div id="ftn20" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref20" name="_ftn20" style="mso-footnote-id: ftn20;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[20]</span><!--[endif]--></span></span></a> JJ
Cohen, <i style="mso-bidi-font-style: normal;">Monster Theory: Reading Culture</i>
p.20</span></div>
</div>
<div id="ftn21" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref21" name="_ftn21" style="mso-footnote-id: ftn21;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[21]</span><!--[endif]--></span></span></a> B.
Denny, <i style="mso-bidi-font-style: normal;">The Services Directive – A Race To
The Bottom!</i> (<st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>,
2006)</span></div>
</div>
<div id="ftn22" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref22" name="_ftn22" style="mso-footnote-id: ftn22;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[22]</span><!--[endif]--></span></span></a> And
indeed every summer since the first blockbuster (Jaws) in 1975.</span></div>
</div>
<div id="ftn23" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref23" name="_ftn23" style="mso-footnote-id: ftn23;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[23]</span><!--[endif]--></span></span></a> C.
Meiville, Marxism and Monsters</span></div>
</div>
<div id="ftn24" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref24" name="_ftn24" style="mso-footnote-id: ftn24;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[24]</span><!--[endif]--></span></span></a> J.J.
Cohen (ed.) <i style="mso-bidi-font-style: normal;">Monster Theory: Reading
Culture<span style="mso-spacerun: yes;"> </span></i>(1996)</span></div>
</div>
<div id="ftn25" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref25" name="_ftn25" style="mso-footnote-id: ftn25;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[25]</span><!--[endif]--></span></span></a> See <a href="http://www.wickedness.net/Monsters/monsters.htm">http://www.wickedness.net/Monsters/monsters.htm</a></span></div>
</div>
<div id="ftn26" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref26" name="_ftn26" style="mso-footnote-id: ftn26;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[26]</span><!--[endif]--></span></span></a> E.g.
One of the academics I contacted in connection to this project, Elun Gabriel,
is primarily a specialist in German political history and the paper on the
Anarchist as Monster he delivered to the conference in 2005 was an off-shoot of
the main research on German Anarchism that he was engaged in.</span></div>
</div>
<div id="ftn27" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref27" name="_ftn27" style="mso-footnote-id: ftn27;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[27]</span><!--[endif]--></span></span></a> N.B.
For this idea of the irrational discourse I am largely drawing on my own
work.<span style="mso-spacerun: yes;"> </span>For a fuller explanation of this
concept see my previous essay, C. McVarnock “The Left Hand of Empire: the
Fantastic and the Irrational in the Culture of Colonialism” (<st1:place w:st="on">Essex</st1:place>,
2006) which explores this concept in the context of imperialism.<span style="mso-spacerun: yes;"> </span>Briefly, this explores the relationship between
rational, scientific literature on the world outside the homelands of European
civilisation (what Edward Siad refers to as Orientalism) and European art and
literature (and particularly fantastic literature) that constructs the Orient
in its own way, within the context of Euro-centric cultural hegemony.<span style="mso-spacerun: yes;"> </span>(Part of) the argument put forwards was that
the two exist in a Derridian binary, and it is possible to explore one through
the other and entirely necessary to be aware of both to understand the cultural
processes behind imperialism.</span></div>
</div>
<div id="ftn28" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref28" name="_ftn28" style="mso-footnote-id: ftn28;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[28]</span><!--[endif]--></span></span></a> Along
with the hero, which in most respects is surely their diametric opposite.</span></div>
</div>
<div id="ftn29" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref29" name="_ftn29" style="mso-footnote-id: ftn29;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[29]</span><!--[endif]--></span></span></a> Such as
the work China Miéville has been doing on contextualising the work of H.P.
Lovecraft within its historical context.</span></div>
</div>
<div id="ftn30" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref30" name="_ftn30" style="mso-footnote-id: ftn30;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[30]</span><!--[endif]--></span></span></a> For
example, recently the role of Dragon symbolism in medieval western culture has
recently been re-examined in the context of the emerging theory of monsters.</span></div>
</div>
<div id="ftn31" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref31" name="_ftn31" style="mso-footnote-id: ftn31;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[31]</span><!--[endif]--></span></span></a> H.
Malchow, Gothic Images of Race in Nineteenth-Century Britain pp.149-165</span></div>
</div>
<div id="ftn32" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref32" name="_ftn32" style="mso-footnote-id: ftn32;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[32]</span><!--[endif]--></span></span></a> Also
covered in Malchow, but more recently Daniel Pick has written a monograph on
the subject, Svengali’s Web.</span></div>
</div>
<div id="ftn33" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref33" name="_ftn33" style="mso-footnote-id: ftn33;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[33]</span><!--[endif]--></span></span></a>
Naturally enough, considering he’s from the British Marxist tradition of E.P.
Thompson, which favours a more Empiricist approach than continental Marxists
(See Thompson’s The Poverty of Philosophy).</span></div>
</div>
<div id="ftn34" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref34" name="_ftn34" style="mso-footnote-id: ftn34;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[34]</span><!--[endif]--></span></span></a> Which
isn’t defined but considering the anti-feminist and homophobic bias evident in
the book we can safely assume is a religious patriarchal society.</span></div>
</div>
<div id="ftn35" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref35" name="_ftn35" style="mso-footnote-id: ftn35;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[35]</span><!--[endif]--></span></span></a>
Routledge, 1990</span></div>
</div>
<div id="ftn36" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref36" name="_ftn36" style="mso-footnote-id: ftn36;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[36]</span><!--[endif]--></span></span></a> N.
Carroll, The Philosophy of Horror, p.7</span></div>
</div>
<div id="ftn37" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref37" name="_ftn37" style="mso-footnote-id: ftn37;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[37]</span><!--[endif]--></span></span></a> Usually
an authority figure.</span></div>
</div>
<div id="ftn38" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref38" name="_ftn38" style="mso-footnote-id: ftn38;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[38]</span><!--[endif]--></span></span></a> Ibid.,
pp99-108</span></div>
</div>
<div id="ftn39" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref39" name="_ftn39" style="mso-footnote-id: ftn39;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[39]</span><!--[endif]--></span></span></a> Ibid.,
pp118-125</span></div>
</div>
<div id="ftn40" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref40" name="_ftn40" style="mso-footnote-id: ftn40;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[40]</span><!--[endif]--></span></span></a> Ibid.,
pp125-128</span></div>
</div>
<div id="ftn41" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref41" name="_ftn41" style="mso-footnote-id: ftn41;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[41]</span><!--[endif]--></span></span></a> J.J.
Cohen.<span style="mso-spacerun: yes;"> </span>‘Monster Culture (Seven Theses)’
in J.J. Cohen (ed.) <span lang="EN-US" style="mso-ansi-language: EN-US;">Monster
Theory: Reading Culture pp.3-25</span><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
</div>
<div id="ftn42" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref42" name="_ftn42" style="mso-footnote-id: ftn42;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[42]</span><!--[endif]--></span></span></a> Ibid.,
pp.7-8</span></div>
</div>
<div id="ftn43" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref43" name="_ftn43" style="mso-footnote-id: ftn43;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[43]</span><!--[endif]--></span></span></a> Ibid.,
p.4</span></div>
</div>
<div id="ftn44" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref44" name="_ftn44" style="mso-footnote-id: ftn44;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[44]</span><!--[endif]--></span></span></a> Ibid.,
p.4</span></div>
</div>
<div id="ftn45" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref45" name="_ftn45" style="mso-footnote-id: ftn45;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[45]</span><!--[endif]--></span></span></a> Ibid.
P.4</span></div>
</div>
<div id="ftn46" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref46" name="_ftn46" style="mso-footnote-id: ftn46;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[46]</span><!--[endif]--></span></span></a> Ibid.,
p.7</span></div>
</div>
<div id="ftn47" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref47" name="_ftn47" style="mso-footnote-id: ftn47;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[47]</span><!--[endif]--></span></span></a> Ibid.
P.7</span></div>
</div>
<div id="ftn48" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref48" name="_ftn48" style="mso-footnote-id: ftn48;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[48]</span><!--[endif]--></span></span></a> Like in
the countless teen slasher films where the monster / killer tends to go after
anyone who has promiscuous sex, takes drugs of in some other way sins against
the social order – the sort of thing lovingly parodied in Wes Craven’s Scream
trilogy.</span></div>
</div>
<div id="ftn49" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref49" name="_ftn49" style="mso-footnote-id: ftn49;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[49]</span><!--[endif]--></span></span></a> Ibid.,
p15<span style="mso-spacerun: yes;"> </span>He could also have used D.W.
Griffith’s Birth of a nation, Dracula or any of the numerous H. P. Lovecraft
stories (including The Call of Cthulhu, Shadow Over Innsmouth or The Dunich
Horror) wherein miscegenation is key to the teratology of the text.</span></div>
</div>
<div id="ftn50" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref50" name="_ftn50" style="mso-footnote-id: ftn50;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[50]</span><!--[endif]--></span></span></a> Ibid.,
p.16</span></div>
</div>
<div id="ftn51" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref51" name="_ftn51" style="mso-footnote-id: ftn51;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[51]</span><!--[endif]--></span></span></a> Ibid.,
P.20</span></div>
</div>
<div id="ftn52" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref52" name="_ftn52" style="mso-footnote-id: ftn52;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[52]</span><!--[endif]--></span></span></a> Ibid.,
p20</span></div>
</div>
<div id="ftn53" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref53" name="_ftn53" style="mso-footnote-id: ftn53;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[53]</span><!--[endif]--></span></span></a> J.
Halberstam, <span lang="EN-US" style="mso-ansi-language: EN-US;">Skin Shows; Gothic
Horror and the Technology of Monsters p22</span></span></div>
</div>
<div id="ftn54" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref54" name="_ftn54" style="mso-footnote-id: ftn54;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[54]</span><!--[endif]--></span></span></a> A. <st1:city w:st="on">Moore</st1:city> and <st1:place w:st="on">E. Campbell</st1:place> <i style="mso-bidi-font-style: normal;">From Hell</i> <i style="mso-bidi-font-style: normal;">Chapter Ten: The best of all tailors</i> p.33.</span></div>
</div>
<div id="ftn55" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref55" name="_ftn55" style="mso-footnote-id: ftn55;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[55]</span><!--[endif]--></span></span></a> Even E.
Michele Jones <i style="mso-bidi-font-style: normal;">Monsters From The Id</i>, strange
though it is, certainly highlights the importance of the Enlightenment.</span></div>
</div>
<div id="ftn56" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref56" name="_ftn56" style="mso-footnote-id: ftn56;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[56]</span><!--[endif]--></span></span></a> J.
Monleón, <i style="mso-bidi-font-style: normal;">A Spectre Is Hauntuing Europe</i>
pp24-30.</span></div>
</div>
<div id="ftn57" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref57" name="_ftn57" style="mso-footnote-id: ftn57;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[57]</span><!--[endif]--></span></span></a> Ibid.,
pp.31-35.</span></div>
</div>
<div id="ftn58" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref58" name="_ftn58" style="mso-footnote-id: ftn58;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[58]</span><!--[endif]--></span></span></a> K.
Haltunnen, ‘The Birth of Horror’ pp.78-84.</span></div>
</div>
<div id="ftn59" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref59" name="_ftn59" style="mso-footnote-id: ftn59;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[59]</span><!--[endif]--></span></span></a> M.
Foucault, <i style="mso-bidi-font-style: normal;">Madness and Civilisation</i>
pp.68-70.</span></div>
</div>
<div id="ftn60" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref60" name="_ftn60" style="mso-footnote-id: ftn60;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[60]</span><!--[endif]--></span></span></a> C. Baldick,
<i style="mso-bidi-font-style: normal;">In Frankenstein’s Shadow</i> pp11-12. Eg.
<i style="mso-bidi-font-style: normal;">Anthony and Cleopatra</i> (IV. xii. 36):
“Of all thy sex.<span style="mso-spacerun: yes;"> </span>Most monster-like be
shown.”</span></div>
</div>
<div id="ftn61" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref61" name="_ftn61" style="mso-footnote-id: ftn61;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[61]</span><!--[endif]--></span></span></a> ibid.
pp13-14.</span></div>
</div>
<div id="ftn62" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref62" name="_ftn62" style="mso-footnote-id: ftn62;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[62]</span><!--[endif]--></span></span></a> This is
actually the main argument of Chris Baldick’s book, <i style="mso-bidi-font-style: normal;">In Frankenstein’s Shadow</i>.</span></div>
</div>
<div id="ftn63" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref63" name="_ftn63" style="mso-footnote-id: ftn63;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[63]</span><!--[endif]--></span></span></a> Or even
classical mythology, though there are parallels to some of the creation myths
of pre-Christian civilisation, hence the novel’s alternative title “The Modern
Prometheus”.</span></div>
</div>
<div id="ftn64" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref64" name="_ftn64" style="mso-footnote-id: ftn64;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[64]</span><!--[endif]--></span></span></a> The
background of the writing of Frankenstein and its bibliogenisis are near
legends in their own right and certainly too long and well documented to be
done justice to here.<span style="mso-spacerun: yes;"> </span>The current
Penguin Classics edition carries a good introduction with an extensive
bibliography (Maurice Hindle, 2003).<span style="mso-spacerun: yes;">
</span>Baldick’s <i style="mso-bidi-font-style: normal;">In Frankenstein’s Shadow</i>
devotes a significant proportion of its length to the novel and is probably the
best I’ve come across on the subject.</span></div>
</div>
<div id="ftn65" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref65" name="_ftn65" style="mso-footnote-id: ftn65;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[65]</span><!--[endif]--></span></span></a> During
the “Golden age” of Science fiction in the 1920s (J. Brosnan <i style="mso-bidi-font-style: normal;">Future Tense</i>, p.12)</span></div>
</div>
<div id="ftn66" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref66" name="_ftn66" style="mso-footnote-id: ftn66;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[66]</span><!--[endif]--></span></span></a> What
was known as “Cheap Print” or chap books.<span style="mso-spacerun: yes;">
</span>This was a popular literature that was around from the first Information
Technology Revolution in the Early modern period.</span></div>
</div>
<div id="ftn67" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref67" name="_ftn67" style="mso-footnote-id: ftn67;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[67]</span><!--[endif]--></span></span></a> Indeed
the term ‘Speculative Fiction’ is increasingly being used as a catch-all term
for referring to the Science Fiction, Fantasy and Horror Genre together (See
N.E. lilly, ‘What is Speculative Fiction’
http://www.greententacles.com/articles/5/26/).</span></div>
</div>
<div id="ftn68" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref68" name="_ftn68" style="mso-footnote-id: ftn68;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[68]</span><!--[endif]--></span></span></a> For a
good Survey of the current literature on the subject see J. Rose, ‘Was
Capitalism Good For Victorian Literature?’ <strong><span style="font-weight: normal;">in</span></strong><strong><i style="mso-bidi-font-style: normal;"><span style="font-weight: normal;"> </span></i></strong><i style="mso-bidi-font-style: normal;">Victorian Studies: an interdisciplinary
journal of social, political, and cultural studies</i> <st1:placetype w:st="on">University</st1:placetype>
of <st1:placename w:st="on">Indiana</st1:placename>, <st1:city w:st="on"><st1:place w:st="on">Bloomington</st1:place></st1:city> (46:3) (Spring 2004) pp.489-501</span></div>
</div>
<div id="ftn69" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref69" name="_ftn69" style="mso-footnote-id: ftn69;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[69]</span><!--[endif]--></span></span></a> R.
Williams, <i style="mso-bidi-font-style: normal;">The Long Revolution</i> p.190</span></div>
</div>
<div id="ftn70" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref70" name="_ftn70" style="mso-footnote-id: ftn70;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[70]</span><!--[endif]--></span></span></a> Ibid.
p.217</span></div>
</div>
<div id="ftn71" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref71" name="_ftn71" style="mso-footnote-id: ftn71;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[71]</span><!--[endif]--></span></span></a> ibid,
pp.177-189</span></div>
</div>
<div id="ftn72" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref72" name="_ftn72" style="mso-footnote-id: ftn72;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[72]</span><!--[endif]--></span></span></a> J.
Carey, <i style="mso-bidi-font-style: normal;">The Intellectuals and The Masses </i>p5</span></div>
</div>
<div id="ftn73" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref73" name="_ftn73" style="mso-footnote-id: ftn73;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[73]</span><!--[endif]--></span></span></a> R. Williams,
p190</span></div>
</div>
<div id="ftn74" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref74" name="_ftn74" style="mso-footnote-id: ftn74;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[74]</span><!--[endif]--></span></span></a> J.
Rose, <strong><span style="font-weight: normal;">‘Was Capitalism Good For
Victorian Literature?’ </span></strong>p.496.</span></div>
</div>
<div id="ftn75" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref75" name="_ftn75" style="mso-footnote-id: ftn75;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[75]</span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">See P.V. Allingham ‘The Victorian
Short Story: A Brief History’.<o:p></o:p></span></span></div>
</div>
<div id="ftn76" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref76" name="_ftn76" style="mso-footnote-id: ftn76;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[76]</span><!--[endif]--></span></span></a> R.
Bowlby, <em>Just Looking: Consumer Culture in Dreiser, Gissing and Zola</em>
p.90.</span></div>
</div>
<div id="ftn77" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref77" name="_ftn77" style="mso-footnote-id: ftn77;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[77]</span><!--[endif]--></span></span></a> ibid.,
p181.</span></div>
</div>
<div id="ftn78" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref78" name="_ftn78" style="mso-footnote-id: ftn78;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[78]</span><!--[endif]--></span></span></a> J.
Neveins ‘Heroes & Monsters’ pp.126-7.</span></div>
</div>
<div id="ftn79" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref79" name="_ftn79" style="mso-footnote-id: ftn79;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[79]</span><!--[endif]--></span></span></a> J.
Brosnan, pp.10-11.</span></div>
</div>
<div id="ftn80" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref80" name="_ftn80" style="mso-footnote-id: ftn80;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[80]</span><!--[endif]--></span></span></a> R.
Tracy, ‘Introduction to In A Glass Darkly’ p.xxi.</span></div>
</div>
<div id="ftn81" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref81" name="_ftn81" style="mso-footnote-id: ftn81;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[81]</span><!--[endif]--></span></span></a> J.
Lorrain ‘The Magic Lantern’ in R. Luckhurst (ed.) <i style="mso-bidi-font-style: normal;">Late Victorian Gothic Stories</i> pp.172-3.</span></div>
</div>
<div id="ftn82" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref82" name="_ftn82" style="mso-footnote-id: ftn82;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[82]</span><!--[endif]--></span></span></a> J.
Rose, <i style="mso-bidi-font-style: normal;">The Intellectual Life of the
British Working Classes</i>, pp.116-9.</span></div>
</div>
<div id="ftn83" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref83" name="_ftn83" style="mso-footnote-id: ftn83;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[83]</span><!--[endif]--></span></span></a> Ibid,
pp.120-1.</span></div>
</div>
<div id="ftn84" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref84" name="_ftn84" style="mso-footnote-id: ftn84;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[84]</span><!--[endif]--></span></span></a> G.
Orwell <i style="mso-bidi-font-style: normal;">The Road To Wigan Peir</i> ch.8 ()</span></div>
</div>
<div id="ftn85" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref85" name="_ftn85" style="mso-footnote-id: ftn85;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[85]</span><!--[endif]--></span></span></a> J.
Monleón, <i style="mso-bidi-font-style: normal;">A Spectre in haunting <st1:place w:st="on">Europe</st1:place></i>, p.94.</span></div>
</div>
<div id="ftn86" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref86" name="_ftn86" style="mso-footnote-id: ftn86;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[86]</span><!--[endif]--></span></span></a> Ibid.</span></div>
</div>
<div id="ftn87" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref87" name="_ftn87" style="mso-footnote-id: ftn87;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[87]</span><!--[endif]--></span></span></a> Who of
course would lead the struggle against the autocracy itself.</span></div>
</div>
<div id="ftn88" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref88" name="_ftn88" style="mso-footnote-id: ftn88;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[88]</span><!--[endif]--></span></span></a> E.J.
Hobsbawm, <i style="mso-bidi-font-style: normal;">The Age of Empire 1875-1914</i>
p.170.</span></div>
</div>
<div id="ftn89" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref89" name="_ftn89" style="mso-footnote-id: ftn89;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[89]</span><!--[endif]--></span></span></a>
Hobsbawn points out that an important watershed was reached in Britian in
1895.<span style="mso-spacerun: yes;"> </span>Prior to that, in almost every
single British cabinet the majority of ministers would be from the aristocracy,
after 1895 they never were again.<span style="mso-spacerun: yes;"> </span>Ibid,
p.171.</span></div>
</div>
<div id="ftn90" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref90" name="_ftn90" style="mso-footnote-id: ftn90;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[90]</span><!--[endif]--></span></span></a> Ibid.
pp.116-7.</span></div>
</div>
<div id="ftn91" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref91" name="_ftn91" style="mso-footnote-id: ftn91;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[91]</span><!--[endif]--></span></span></a> See
E.P. Thompson, ‘Time, Work-discipline and Industrial Capitalism’ <i style="mso-bidi-font-style: normal;">Past and Present</i> 38 (1967)</span></div>
</div>
<div id="ftn92" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref92" name="_ftn92" style="mso-footnote-id: ftn92;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[92]</span><!--[endif]--></span></span></a> E.J.
Hobsbawm, pp44-5</span></div>
</div>
<div id="ftn93" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref93" name="_ftn93" style="mso-footnote-id: ftn93;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[93]</span><!--[endif]--></span></span></a> See J.
Carey, <i style="mso-bidi-font-style: normal;">The Intellectuals and the Masses:
Pride and Prejudice Among the Literary Intelligentsia</i>, 1880-1939 pp3-22.</span></div>
</div>
<div id="ftn94" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref94" name="_ftn94" style="mso-footnote-id: ftn94;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[94]</span><!--[endif]--></span></span></a> For a
full, discussion of the Theory of Degeneration, the best book to look at is
Daniel Pick’s <i style="mso-bidi-font-style: normal;">Faces of Degeneration</i>,
but see also Chapters 6, 13 and 16 of Gareth Stedman Jones’ <i style="mso-bidi-font-style: normal;">Outcast London</i>, Chapter 1 of <i style="mso-bidi-font-style: normal;">Victorian Demons </i>by Andrew Smith, which
looks at Degeneration Theory in the context of masculinity and The first
chapter of Steven Arata’s <i style="mso-bidi-font-style: normal;">Fictions of
Loss in the Fin de Seicle</i>.</span></div>
</div>
<div id="ftn95" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref95" name="_ftn95" style="mso-footnote-id: ftn95;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[95]</span><!--[endif]--></span></span></a> First
published January 1886.</span></div>
</div>
<div id="ftn96" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref96" name="_ftn96" style="mso-footnote-id: ftn96;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[96]</span><!--[endif]--></span></span></a> R.
Mighall, ‘Introduction’ in <i style="mso-bidi-font-style: normal;">The Strange
Case of Doctor Jekyll and Mr Hyde</i>, p.x.</span></div>
</div>
<div id="ftn97" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref97" name="_ftn97" style="mso-footnote-id: ftn97;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[97]</span><!--[endif]--></span></span></a> Ibid. p.x</span></div>
</div>
<div id="ftn98" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref98" name="_ftn98" style="mso-footnote-id: ftn98;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[98]</span><!--[endif]--></span></span></a> And I’d
imagine the famous stage adaptation that had to be closed at the time of the
Ripper Murders in 1888.<span style="mso-spacerun: yes;"> </span>I can’t really
say because the script is not commercially available and I’ve yet to turn up a
copy, or account of the play by a viewer.</span></div>
</div>
<div id="ftn99" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref99" name="_ftn99" style="mso-footnote-id: ftn99;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[99]</span><!--[endif]--></span></span></a> R.L.
Stevenson, <i style="mso-bidi-font-style: normal;">The Strange Case of Dr Jekyll
and Mr Hyde and Other Tales Of Terror</i> p.9</span></div>
</div>
<div id="ftn100" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref100" name="_ftn100" style="mso-footnote-id: ftn100;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[100]</span><!--[endif]--></span></span></a>
Ibid, p.xix</span></div>
</div>
<div id="ftn101" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref101" name="_ftn101" style="mso-footnote-id: ftn101;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[101]</span><!--[endif]--></span></span></a>
And I use this term in the same sense as “Gendered”.</span></div>
</div>
<div id="ftn102" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref102" name="_ftn102" style="mso-footnote-id: ftn102;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[102]</span><!--[endif]--></span></span></a>
J. Sutherland <i style="mso-bidi-font-style: normal;">Is Heathcliff a Murderer?
Puzzles in Nineteenth-Century Fiction</i> p.184</span></div>
</div>
<div id="ftn103" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref103" name="_ftn103" style="mso-footnote-id: ftn103;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[103]</span><!--[endif]--></span></span></a>
At least as depicted by Mary Shelly, as opposed to the traditional image of the
monster that comes from the numerous film adaptations, particularly the James
Whale version staring Boris Karloff.</span></div>
</div>
<div id="ftn104" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref104" name="_ftn104" style="mso-footnote-id: ftn104;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[104]</span><!--[endif]--></span></span></a>
R. L. Stevenson, p.23</span></div>
</div>
<div id="ftn105" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref105" name="_ftn105" style="mso-footnote-id: ftn105;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[105]</span><!--[endif]--></span></span></a>
For example, see Dr Freeman-Williams <i style="mso-bidi-font-style: normal;">The
Effect of Townlife on General Health</i> quoted in G.S. Jones, <i style="mso-bidi-font-style: normal;">Outcast London</i> p.127</span></div>
</div>
<div id="ftn106" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref106" name="_ftn106" style="mso-footnote-id: ftn106;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[106]</span><!--[endif]--></span></span></a> <i style="mso-bidi-font-style: normal;">23<sup>rd</sup> Annual report of the London
Poor Board, 1871</i>, Ibid, p.129.</span></div>
</div>
<div id="ftn107" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref107" name="_ftn107" style="mso-footnote-id: ftn107;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[107]</span><!--[endif]--></span></span></a>
R. L. Stevenson, p.62</span></div>
</div>
<div id="ftn108" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref108" name="_ftn108" style="mso-footnote-id: ftn108;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[108]</span><!--[endif]--></span></span></a>
Quoted in J. Sutherland p.187</span></div>
</div>
<div id="ftn109" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref109" name="_ftn109" style="mso-footnote-id: ftn109;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[109]</span><!--[endif]--></span></span></a>
Ibid. p.187</span></div>
</div>
<div id="ftn110" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref110" name="_ftn110" style="mso-footnote-id: ftn110;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[110]</span><!--[endif]--></span></span></a>
See the incident as given on page 66 of the Penguin classics edition, which is
based on the first published edition. </span></div>
</div>
<div id="ftn111" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref111" name="_ftn111" style="mso-footnote-id: ftn111;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[111]</span><!--[endif]--></span></span></a>
As indeed had happened in with <i style="mso-bidi-font-style: normal;">Frankenstein</i>,
see Baldick pp58-62 and 199-204 on the differences between the 1818 and 1831
editions.</span></div>
</div>
<div id="ftn112" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref112" name="_ftn112" style="mso-footnote-id: ftn112;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[112]</span><!--[endif]--></span></span></a>
R. L. Stevenson, p.22</span></div>
</div>
<div id="ftn113" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref113" name="_ftn113" style="mso-footnote-id: ftn113;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[113]</span><!--[endif]--></span></span></a>
Ibid, p.42</span></div>
</div>
<div id="ftn114" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref114" name="_ftn114" style="mso-footnote-id: ftn114;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[114]</span><!--[endif]--></span></span></a>
L. Curtis, <i style="mso-bidi-font-style: normal;">Angels and Apes</i>, pp.102-3.</span></div>
</div>
<div id="ftn115" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref115" name="_ftn115" style="mso-footnote-id: ftn115;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[115]</span><!--[endif]--></span></span></a>
Ibid.</span></div>
</div>
<div id="ftn116" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref116" name="_ftn116" style="mso-footnote-id: ftn116;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[116]</span><!--[endif]--></span></span></a>
Variously the Irish Republican or Irish Revolutionary Brotherhood.</span></div>
</div>
<div id="ftn117" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref117" name="_ftn117" style="mso-footnote-id: ftn117;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[117]</span><!--[endif]--></span></span></a>
P.G. Gurney, Labour’s Arch, p</span></div>
</div>
<div id="ftn118" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref118" name="_ftn118" style="mso-footnote-id: ftn118;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[118]</span><!--[endif]--></span></span></a>
For a full discussion on the simianisation of the Irish and its development see
L. Perry Curtis, <i style="mso-bidi-font-style: normal;">Angels and Apes</i>, especially
Chapter IV, pp 29-57. </span></div>
</div>
<div id="ftn119" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref119" name="_ftn119" style="mso-footnote-id: ftn119;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[119]</span><!--[endif]--></span></span></a>
C. Baldick, <i style="mso-bidi-font-style: normal;">In Frankenstein’s Shadow</i>
pp.84-91.</span></div>
</div>
<div id="ftn120" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref120" name="_ftn120" style="mso-footnote-id: ftn120;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[120]</span><!--[endif]--></span></span></a> <st1:place w:st="on">E Hobsbawm</st1:place>, p.121.</span></div>
</div>
<div id="ftn121" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref121" name="_ftn121" style="mso-footnote-id: ftn121;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[121]</span><!--[endif]--></span></span></a>
Victor Sage, <i style="mso-bidi-font-style: normal;">Horror in the Protestant
Tradition</i> p.78.</span></div>
</div>
<div id="ftn122" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref122" name="_ftn122" style="mso-footnote-id: ftn122;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[122]</span><!--[endif]--></span></span></a>
C. Miéville, <i style="mso-bidi-font-style: normal;">Marxism and Monsters.</i></span></div>
</div>
<div id="ftn123" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref123" name="_ftn123" style="mso-footnote-id: ftn123;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[123]</span><!--[endif]--></span></span></a>
H.G. Wells, <i style="mso-bidi-font-style: normal;">The Time Machine</i> p.48.</span></div>
</div>
<div id="ftn124" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref124" name="_ftn124" style="mso-footnote-id: ftn124;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[124]</span><!--[endif]--></span></span></a>
Which is something Norman Spinrad would address with greater aplomb in his
novel “The Men In The Jungle”.</span></div>
</div>
<div id="ftn125" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref125" name="_ftn125" style="mso-footnote-id: ftn125;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[125]</span><!--[endif]--></span></span></a>
This is also interesting for what it says about Well’s political ideas.<span style="mso-spacerun: yes;"> </span>Here, at the beginning of Wells’ writing
career, we can see some of the intellectual elitism that would evolve into a
fetish for authoritarian regimes controlled by an intellectual elite that would
find him championing Stalin’s Soviet Union and even Nazi Germany much later in
his career.</span></div>
</div>
<div id="ftn126" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref126" name="_ftn126" style="mso-footnote-id: ftn126;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[126]</span><!--[endif]--></span></span></a>
See, H, Malchow, <i style="mso-bidi-font-style: normal;">Gothic Images of Race in
Nineteenth-Century Britain,</i> chapter 2</span></div>
</div>
<div id="ftn127" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref127" name="_ftn127" style="mso-footnote-id: ftn127;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[127]</span><!--[endif]--></span></span></a>
J. Carey, p.139</span></div>
</div>
<div id="ftn128" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref128" name="_ftn128" style="mso-footnote-id: ftn128;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[128]</span><!--[endif]--></span></span></a>
H. G. Wells, <i style="mso-bidi-font-style: normal;">The <st1:place w:st="on"><st1:placetype w:st="on">Island</st1:placetype> of <st1:placename w:st="on">Doctor Moreau</st1:placename></st1:place></i>,
p.82</span></div>
</div>
<div id="ftn129" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref129" name="_ftn129" style="mso-footnote-id: ftn129;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[129]</span><!--[endif]--></span></span></a>
L. Curtis, pp.89-93</span></div>
</div>
<div id="ftn130" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref130" name="_ftn130" style="mso-footnote-id: ftn130;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[130]</span><!--[endif]--></span></span></a>
H. G, Wells, <i style="mso-bidi-font-style: normal;">The Island of Doctor Moreau</i>,
p.84.</span></div>
</div>
<div id="ftn131" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref131" name="_ftn131" style="mso-footnote-id: ftn131;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[131]</span><!--[endif]--></span></span></a>
Ibid., p.130-1.</span></div>
</div>
<div id="ftn132" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref132" name="_ftn132" style="mso-footnote-id: ftn132;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[132]</span><!--[endif]--></span></span></a>
Ibid., p.130.</span></div>
</div>
<div id="ftn133" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref133" name="_ftn133" style="mso-footnote-id: ftn133;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[133]</span><!--[endif]--></span></span></a>
The time machine sold 6,000 copies in it’s first year. </span></div>
</div>
<div id="ftn134" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref134" name="_ftn134" style="mso-footnote-id: ftn134;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[134]</span><!--[endif]--></span></span></a> <i style="mso-bidi-font-style: normal;">Dracula</i> was a modest success, it’s first
edition ran to 3,000 copies and was reprinted several times in Stoker’s
lifetime, but he never saw the fame of Stevenson or Wells.<span style="mso-spacerun: yes;"> </span>E. Miller, <i style="mso-bidi-font-style: normal;">Dracula: Sense and Nonsense</i> pp78-9.</span></div>
</div>
<div id="ftn135" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref135" name="_ftn135" style="mso-footnote-id: ftn135;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[135]</span><!--[endif]--></span></span></a>
Including, for example, F.W. Murneau’s <i style="mso-bidi-font-style: normal;">Nosferatu</i>,
though this was by no means the only nor even the earliest screen adaptation of
the story.<span style="mso-spacerun: yes;"> </span>Ibid. p.79.</span></div>
</div>
<div id="ftn136" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref136" name="_ftn136" style="mso-footnote-id: ftn136;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[136]</span><!--[endif]--></span></span></a>
B. Stoker, Dracula, p.362.</span></div>
</div>
<div id="ftn137" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref137" name="_ftn137" style="mso-footnote-id: ftn137;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[137]</span><!--[endif]--></span></span></a>
Ibid.</span></div>
</div>
<div id="ftn138" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref138" name="_ftn138" style="mso-footnote-id: ftn138;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[138]</span><!--[endif]--></span></span></a>
According to the blurb on the back cover of <i style="mso-bidi-font-style: normal;">Sense
and Nonsense</i>.</span></div>
</div>
<div id="ftn139" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref139" name="_ftn139" style="mso-footnote-id: ftn139;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[139]</span><!--[endif]--></span></span></a>
ibid, pp37-38.</span></div>
</div>
<div id="ftn140" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref140" name="_ftn140" style="mso-footnote-id: ftn140;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[140]</span><!--[endif]--></span></span></a> <i style="mso-bidi-font-style: normal;">The Vampyre</i> was the first important
Vampire novel, the first vampire story in the Gothic tradition was actually
Byron’s story of the same name, penned for the same story writing competition
where Mary Shelly wrote the story she would later develop into <i style="mso-bidi-font-style: normal;">Frankenstein.<o:p></o:p></i></span></div>
</div>
<div id="ftn141" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref141" name="_ftn141" style="mso-footnote-id: ftn141;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[141]</span><!--[endif]--></span></span></a>
R. Tracy ‘Introduction’ in In A Glass Darkly, p.xxi.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
</div>
<div id="ftn142" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref142" name="_ftn142" style="mso-footnote-id: ftn142;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[142]</span><!--[endif]--></span></span></a>
See. C. Méiville ‘Introduction’ in H.P. Lovecraft <i style="mso-bidi-font-style: normal;">At The Mountains of Madness</i> (ed.) pp.xi-xxv</span></div>
</div>
<div id="ftn143" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref143" name="_ftn143" style="mso-footnote-id: ftn143;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[143]</span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">S.D. Arata, <i style="mso-bidi-font-style: normal;">Fictions of Loss in the Victorian Fin de Siecle</i>.</span></span></div>
</div>
<div id="ftn144" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref144" name="_ftn144" style="mso-footnote-id: ftn144;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[144]</span><!--[endif]--></span></span></a>
R. Mighall <i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">A Geography of Victorian Gothic Fiction:
Mapping History’s Nightmares</span></i><span lang="EN-US" style="mso-ansi-language: EN-US;">, pp.276-287</span></span></div>
</div>
<div id="ftn145" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref145" name="_ftn145" style="mso-footnote-id: ftn145;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[145]</span><!--[endif]--></span></span></a>
Lucy Westerna in her Vampiric incarnation harks back to a long tradition in
western culture of the Mother as monster (see the section on infanticides in M
Warner, <i style="mso-bidi-font-style: normal;">Managing Monsters</i>, pp. 6-12).</span></div>
</div>
<div id="ftn146" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref146" name="_ftn146" style="mso-footnote-id: ftn146;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[146]</span><!--[endif]--></span></span></a>
Pick and Arata have both noted that the Dracula follow in the wake of declining
Empires.</span></div>
</div>
<div id="ftn147" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref147" name="_ftn147" style="mso-footnote-id: ftn147;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[147]</span><!--[endif]--></span></span></a>
For a full and concise explanation of Dracula’s and location within
degenerative discourse and the writing around it see M. Tomaszewska, Vampirism
and the Degeneration of the Imperial Race - Dracula as the Degenerative
Imperial Other<i style="mso-bidi-font-style: normal;">.</i></span></div>
</div>
<div id="ftn148" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref148" name="_ftn148" style="mso-footnote-id: ftn148;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[148]</span><!--[endif]--></span></span></a>
A lot has been written on the latent Anti-Semitism in Dracula, (See M.
Tomaszewska, S. Kline and J. Halberstam), but the most comprehensive is in H.L.
Malchow, Gothic Images of Race in Nineteenth-Century Britain pp153-164.</span></div>
</div>
<div id="ftn149" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref149" name="_ftn149" style="mso-footnote-id: ftn149;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[149]</span><!--[endif]--></span></span></a>
Bryan Turner, </span></div>
</div>
<div id="ftn150" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref150" name="_ftn150" style="mso-footnote-id: ftn150;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[150]</span><!--[endif]--></span></span></a>
Sigmund Freud’s notion of The Uncanny which Freud called in his own language,
“Das Unheimlich” – literally “The Un-Homely”.</span></div>
</div>
<div id="ftn151" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref151" name="_ftn151" style="mso-footnote-id: ftn151;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[151]</span><!--[endif]--></span></span></a>
G. De Maupassant, <i style="mso-bidi-font-style: normal;">The Horla</i>
(http://www.eastoftheweb.com/short-stories/ubooks/horl.shtml)</span></div>
</div>
<div id="ftn152" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref152" name="_ftn152" style="mso-footnote-id: ftn152;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[152]</span><!--[endif]--></span></span></a>
H. James, <i style="mso-bidi-font-style: normal;">The Turn of the Screw</i>
(http://www.yeoldelibrary.com/text/jamesh/screw)</span></div>
</div>
<div id="ftn153" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref153" name="_ftn153" style="mso-footnote-id: ftn153;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[153]</span><!--[endif]--></span></span></a>
J. Monleon, p.88</span></div>
</div>
<div id="ftn154" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref154" name="_ftn154" style="mso-footnote-id: ftn154;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[154]</span><!--[endif]--></span></span></a>
Which also carries implications of the fear of the next generation of mankind
usurping the social order.</span></div>
</div>
<div id="ftn155" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref155" name="_ftn155" style="mso-footnote-id: ftn155;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[155]</span><!--[endif]--></span></span></a>
G. De Maupassant, p.16.</span></div>
</div>
<div id="ftn156" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref156" name="_ftn156" style="mso-footnote-id: ftn156;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[156]</span><!--[endif]--></span></span></a>
Wells in a letter to his brother Frank, quoted in C. Meiville, Marxism and
Monsters.</span></div>
</div>
<div id="ftn157" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref157" name="_ftn157" style="mso-footnote-id: ftn157;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[157]</span><!--[endif]--></span></span></a>
G. De Maupassant, p.18.</span></div>
</div>
<div id="ftn158" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref158" name="_ftn158" style="mso-footnote-id: ftn158;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[158]</span><!--[endif]--></span></span></a>
Indeed, as we shall see, Degeneration Theory, for example, had reached the
stage of penetration that Gramsci referred to as, “common sense” Arata, p16.</span></div>
</div>
<div id="ftn159" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref159" name="_ftn159" style="mso-footnote-id: ftn159;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[159]</span><!--[endif]--></span></span></a>
E.g. <i style="mso-bidi-font-style: normal;">Socialist Worker</i>,<i style="mso-bidi-font-style: normal;"> The Militant</i>, <i style="mso-bidi-font-style: normal;">Worker’s Hammer</i> and <i style="mso-bidi-font-style: normal;">The
Socialist</i>. to name but a few.</span></div>
</div>
<div id="ftn160" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref160" name="_ftn160" style="mso-footnote-id: ftn160;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[160]</span><!--[endif]--></span></span></a>
For some suggestions as to why this might have been see <span lang="EN-US" style="mso-ansi-language: EN-US;">McKibbon, R. ‘Why Was There No Marxism In Great
Britain?’ in <i style="mso-bidi-font-style: normal;">The English Historical
Review</i>, Vol. 99, No.391 (April, 1984) pp297-331.</span></span></div>
</div>
<div id="ftn161" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref161" name="_ftn161" style="mso-footnote-id: ftn161;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[161]</span><!--[endif]--></span></span></a>
See F. Wheen <i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Marx’s Das Kapital: A Biograph</span></i><span lang="EN-US" style="mso-ansi-language: EN-US;">.</span></span></div>
</div>
<div id="ftn162" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref162" name="_ftn162" style="mso-footnote-id: ftn162;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[162]</span><!--[endif]--></span></span></a>
F. Engles, <i style="mso-bidi-font-style: normal;">The Conditions of the working
class in <st1:place w:st="on"><st1:country-region w:st="on">England</st1:country-region></st1:place></i>,
p.264.</span></div>
</div>
<div id="ftn163" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref163" name="_ftn163" style="mso-footnote-id: ftn163;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[163]</span><!--[endif]--></span></span></a>
C. Baldick, pp128-9.</span></div>
</div>
<div id="ftn164" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref164" name="_ftn164" style="mso-footnote-id: ftn164;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[164]</span><!--[endif]--></span></span></a>
Anon., ‘The Vampires of To-day’ 28 January 1888 p.1.</span></div>
</div>
<div id="ftn165" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref165" name="_ftn165" style="mso-footnote-id: ftn165;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[165]</span><!--[endif]--></span></span></a>
W. Crane, ‘The Capitalist Vampire’ <i style="mso-bidi-font-style: normal;">Justice</i>,
22 August 1885.</span></div>
</div>
<div id="ftn166" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref166" name="_ftn166" style="mso-footnote-id: ftn166;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[166]</span><!--[endif]--></span></span></a>
Anon, “A Special Announcement” <i style="mso-bidi-font-style: normal;">Justice</i>
22 August 1885 p.1.</span></div>
</div>
<div id="ftn167" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref167" name="_ftn167" style="mso-footnote-id: ftn167;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[167]</span><!--[endif]--></span></span></a>
Apparantly Kobold in the original German, which would be more like a Pixie or
Leprechaun than a spectre.<span style="mso-spacerun: yes;"> </span>See C.
Mieville ‘Marxism and Monsters’</span></div>
</div>
<div id="ftn168" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref168" name="_ftn168" style="mso-footnote-id: ftn168;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[168]</span><!--[endif]--></span></span></a>
B. “Imperial Puppets”, 2 July 1898 p.1</span></div>
</div>
<div id="ftn169" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref169" name="_ftn169" style="mso-footnote-id: ftn169;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[169]</span><!--[endif]--></span></span></a>
C. Baldick, <span lang="EN-US" style="mso-ansi-language: EN-US;">p.125</span></span></div>
</div>
<div id="ftn170" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref170" name="_ftn170" style="mso-footnote-id: ftn170;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[170]</span><!--[endif]--></span></span></a> <i style="mso-bidi-font-style: normal;">The Clarion</i> ‘untitled’<i style="mso-bidi-font-style: normal;"> </i>30th July 1898.</span></div>
</div>
<div id="ftn171" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref171" name="_ftn171" style="mso-footnote-id: ftn171;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[171]</span><!--[endif]--></span></span></a>
Anon. Yorkshire Factory Times, 30 September 1892 p.6.</span></div>
</div>
<div id="ftn172" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref172" name="_ftn172" style="mso-footnote-id: ftn172;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[172]</span><!--[endif]--></span></span></a>
E. Zola <i style="mso-bidi-font-style: normal;">Germinal </i>p.28.</span></div>
</div>
<div id="ftn173" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref173" name="_ftn173" style="mso-footnote-id: ftn173;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[173]</span><!--[endif]--></span></span></a>
A. Kollontai, <i style="mso-bidi-font-style: normal;">Selected Speeches and
Writings</i></span></div>
</div>
<div id="ftn174" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref174" name="_ftn174" style="mso-footnote-id: ftn174;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[174]</span><!--[endif]--></span></span></a>
At that time generally taken to mean the imbuing of objects - “fetishes” – such
as idols or saintly relics, with an inherent value and/or powers.<span style="mso-spacerun: yes;"> </span>The word only gained its sexual connotation
much later.</span></div>
</div>
<div id="ftn175" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref175" name="_ftn175" style="mso-footnote-id: ftn175;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[175]</span><!--[endif]--></span></span></a>
Anon, ‘The Modern Minotaur’ Justice 30 October 1884 p.1.</span></div>
</div>
<div id="ftn176" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref176" name="_ftn176" style="mso-footnote-id: ftn176;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[176]</span><!--[endif]--></span></span></a>
Ibid.</span></div>
</div>
<div id="ftn177" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref177" name="_ftn177" style="mso-footnote-id: ftn177;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[177]</span><!--[endif]--></span></span></a>
see. R. Stott, ‘The Dark Continent, <st1:place w:st="on">Africa</st1:place> as
Female Body in Haggard’s Adventure Fiction’.</span></div>
</div>
<div id="ftn178" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref178" name="_ftn178" style="mso-footnote-id: ftn178;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[178]</span><!--[endif]--></span></span></a>
Anon, <i style="mso-bidi-font-style: normal;">Justice</i> 8 October 1898.</span></div>
</div>
<div id="ftn179" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref179" name="_ftn179" style="mso-footnote-id: ftn179;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[179]</span><!--[endif]--></span></span></a>
Anon, <i style="mso-bidi-font-style: normal;">Justice</i> 14 October 1899.</span></div>
</div>
<div id="ftn180" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref180" name="_ftn180" style="mso-footnote-id: ftn180;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[180]</span><!--[endif]--></span></span></a>
D. Pick, p.3.</span></div>
</div>
<div id="ftn181" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref181" name="_ftn181" style="mso-footnote-id: ftn181;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[181]</span><!--[endif]--></span></span></a>
C.S.J. ‘A Fairy tale For Tired Socialists’ <i style="mso-bidi-font-style: normal;">Justice</i>,
20 August 1898 p.6.</span></div>
</div>
<div id="ftn182" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref182" name="_ftn182" style="mso-footnote-id: ftn182;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[182]</span><!--[endif]--></span></span></a>
Ibid.</span></div>
</div>
<div id="ftn183" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref183" name="_ftn183" style="mso-footnote-id: ftn183;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[183]</span><!--[endif]--></span></span></a>
See for example J. Sutherland, ‘What did Mr. Hyde really look like ?’ in <i style="mso-bidi-font-style: normal;"><span style="color: black;">Is Heathcliff a
Murderer?: Great Puzzles in Nineteenth-Century Fiction</span></i> pp.186.</span></div>
</div>
<div id="ftn184" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref184" name="_ftn184" style="mso-footnote-id: ftn184;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[184]</span><!--[endif]--></span></span></a>
Anon, ‘The Agitator’ The Clarion, 7 May 1892 p.1.</span></div>
</div>
<div id="ftn185" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref185" name="_ftn185" style="mso-footnote-id: ftn185;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[185]</span><!--[endif]--></span></span></a>
Ibid.</span></div>
</div>
<div id="ftn186" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref186" name="_ftn186" style="mso-footnote-id: ftn186;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[186]</span><!--[endif]--></span></span></a>
M. Bahktin, Rabelais and his world, p.141.</span></div>
</div>
<div id="ftn187" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref187" name="_ftn187" style="mso-footnote-id: ftn187;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[187]</span><!--[endif]--></span></span></a>
Ibid., p.142.</span></div>
</div>
<div id="ftn188" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref188" name="_ftn188" style="mso-footnote-id: ftn188;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[188]</span><!--[endif]--></span></span></a>
Anon, ‘Piggy’s Property’ The Clarion, 17 November 1892 p.1.</span></div>
</div>
<div id="ftn189" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref189" name="_ftn189" style="mso-footnote-id: ftn189;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[189]</span><!--[endif]--></span></span></a>
Anon, ‘The Crocodile M.P.’ The Clarion, 23 April 1892 p.1.</span></div>
</div>
<div id="ftn190" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref190" name="_ftn190" style="mso-footnote-id: ftn190;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[190]</span><!--[endif]--></span></span></a>
The best answer to this specious criticism of Marx was provided in the 1940s by
the American Marxist Hal Draper.<span style="mso-spacerun: yes;"> </span>(see.
H. Draper, ‘Marx and the Economic Jew Stereotype’
http://www.marxists.de/religion/draper/marxjewq.htm ) Whilst the charge of
anti-Semitism is leveled at Marx by each succeding generation of reactionaries,
few have engaged with Draper’s response or any of the other counter arguments put
by Marxists over the years.</span></div>
</div>
<div id="ftn191" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref191" name="_ftn191" style="mso-footnote-id: ftn191;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[191]</span><!--[endif]--></span></span></a>
Traditionally, by various shades of Trotskyism against the Communist parties
and the Soviet Union, (with some justification), more recently in Britain by
the Alliance for Workers Liberty against every one else on the far left,
especially the Socialist Workers Party (with much less justification) and the
Euston Manifesto signatories (a grouping of the pro-war “Left”, mainly
journalists and intellectuals) against the popular movement against the war in
Iraq.</span></div>
</div>
<div id="ftn192" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref192" name="_ftn192" style="mso-footnote-id: ftn192;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[192]</span><!--[endif]--></span></span></a>
Of course to the Neo-Liberal Hegemony, which within it’s own discourse
fetishises the Market and what it calls, “Free-Trade”, any government or
ideology that places a restriction on its economy for whatever reason is
abhorrent.</span></div>
</div>
<div id="ftn193" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref193" name="_ftn193" style="mso-footnote-id: ftn193;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[193]</span><!--[endif]--></span></span></a>
A recent EU investigation into incidents of Anti-Semitism in <st1:place w:st="on">Europe</st1:place>
listed “Flying or displaying a Palestinain flag” as an anti-Semitic action.</span></div>
</div>
<div id="ftn194" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref194" name="_ftn194" style="mso-footnote-id: ftn194;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[194]</span><!--[endif]--></span></span></a>
A. Gramsci, ‘Notes for an introduction and an approach to the study of
Philosophy of the history Of Culture’ p.343.</span></div>
</div>
<div id="ftn195" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref195" name="_ftn195" style="mso-footnote-id: ftn195;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[195]</span><!--[endif]--></span></span></a>
For example by Steve Cohen in his pamphlet Funny You Don’t Look Anti-Semetic
(http://www.engageonline.org.uk/ressources/funny/).</span></div>
</div>
<div id="ftn196" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref196" name="_ftn196" style="mso-footnote-id: ftn196;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[196]</span><!--[endif]--></span></span></a>
Anon. ‘Gold Greedy Ghouls Thirsty for Blood’ Justice, 14 November 1899.</span></div>
</div>
<div id="ftn197" style="mso-element: footnote;">
<div class="MsoFootnoteText" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref197" name="_ftn197" style="mso-footnote-id: ftn197;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[197]</span><!--[endif]--></span></span></a>
T.W. Rothstein, in ‘Letters to The editor’ Justice, 21 October 1899.</span></div>
</div>
<div id="ftn198" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref198" name="_ftn198" style="mso-footnote-id: ftn198;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[198]</span><!--[endif]--></span></span></a>
Which Rothstein characterised as ‘reactionary’.</span></div>
</div>
<div id="ftn199" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref199" name="_ftn199" style="mso-footnote-id: ftn199;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[199]</span><!--[endif]--></span></span></a>
See L.P. Curtis pp.68-88.</span></div>
</div>
<div id="ftn200" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref200" name="_ftn200" style="mso-footnote-id: ftn200;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[200]</span><!--[endif]--></span></span></a>
“Reciprocity” by John F. O’Hea from <i style="mso-bidi-font-style: normal;">Pat</i>
(Ibid. p.70).</span></div>
</div>
<div id="ftn201" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref201" name="_ftn201" style="mso-footnote-id: ftn201;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[201]</span><!--[endif]--></span></span></a>
“Mr Punch Introduces Tenniel’s Irishman to The Jarvey” by Richard C. Orpen from
<i style="mso-bidi-font-style: normal;">The Jarvey</i> (Ibid. p.74).</span></div>
</div>
<div id="ftn202" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref202" name="_ftn202" style="mso-footnote-id: ftn202;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[202]</span><!--[endif]--></span></span></a>
Certainly the capacity of the monster to kill, maim and destroy is an important
element of the monster and certainly shouldn’t be overlooked.</span></div>
</div>
<div id="ftn203" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref203" name="_ftn203" style="mso-footnote-id: ftn203;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[203]</span><!--[endif]--></span></span></a>
N. Carroll, <i style="mso-bidi-font-style: normal;">The Philosophy of Horror</i>
p.125.</span></div>
</div>
<div id="ftn204" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref204" name="_ftn204" style="mso-footnote-id: ftn204;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[204]</span><!--[endif]--></span></span></a>
J. Monleon, <i style="mso-bidi-font-style: normal;">A Spectre is Haunting Europe</i>,
A Sociohistorical approach to the Fantastic, p.35.</span></div>
</div>
<div id="ftn205" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref205" name="_ftn205" style="mso-footnote-id: ftn205;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[205]</span><!--[endif]--></span></span></a>
J. Halberstam, <i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Skin Shows; Gothic Horror and the Technology of
Monsters </span></i><span lang="EN-US" style="mso-ansi-language: EN-US;">p22.</span></span></div>
</div>
<div id="ftn206" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref206" name="_ftn206" style="mso-footnote-id: ftn206;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[206]</span><!--[endif]--></span></span></a> <span lang="EN-US" style="mso-ansi-language: EN-US;">One need only think of recent
discoveries about Sir Isaac Newton’s alchemical investigations, or John Dee,
the Magus at the Elizabethan court during the renaissance who was a noted
authority on a number of subjects and saw no contradiction between expertise in
cartography, mathematics and scrying.</span></span></div>
</div>
<div id="ftn207" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref207" name="_ftn207" style="mso-footnote-id: ftn207;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[207]</span><!--[endif]--></span></span></a>
Indeed I believe that a new adaptation of Dracula due to be screened this
christmas takes Syphilis as one of it’s key themes.</span></div>
</div>
<div id="ftn208" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref208" name="_ftn208" style="mso-footnote-id: ftn208;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[208]</span><!--[endif]--></span></span></a>
E. Miller, <i style="mso-bidi-font-style: normal;">Dracula Sense and Nonsense</i>
pp.81-2.</span></div>
</div>
<div id="ftn209" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref209" name="_ftn209" style="mso-footnote-id: ftn209;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[209]</span><!--[endif]--></span></span></a>
N. Carroll, pp.60-88.</span></div>
</div>
<div id="ftn210" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref210" name="_ftn210" style="mso-footnote-id: ftn210;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[210]</span><!--[endif]--></span></span></a>
J. Rose, <i style="mso-bidi-font-style: normal;">The Intellectual Life of the
British Working class</i> pp.92-115.</span></div>
</div>
<div id="ftn211" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref211" name="_ftn211" style="mso-footnote-id: ftn211;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[211]</span><!--[endif]--></span></span></a>
Bakhtin’s legacy in particular seems to contain much that is applicable to
developing a Marxist perspective on audiences, see. D. Shepherd, ‘Bakhtin and
the Reader’ in <i style="mso-bidi-font-style: normal;">Bakhtin and Cultural
Theory</i> pp.91-108.</span></div>
</div>
<div id="ftn212" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref212" name="_ftn212" style="mso-footnote-id: ftn212;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[212]</span><!--[endif]--></span></span></a>
Whether that be in academia, the real wages of the working class which have
been in decline since the 1970s or the institutions of the working class that
have been under a sustained assault since the same period.</span></div>
</div>
<div id="ftn213" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<span style="font-family: "verdana" , sans-serif;"><a href="file:///C:/Users/Kohnna/Downloads/MA%20Complete%20for%20publication%20to%20blog.doc#_ftnref213" name="_ftn213" style="mso-footnote-id: ftn213;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[213]</span><!--[endif]--></span></span></a>
C. Miéville, <i style="mso-bidi-font-style: normal;">Marxism and Monsters</i>.</span></div>
</div>
</div>
<span style="font-family: "verdana" , sans-serif;"><br /></span>
Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-15528918573476776342018-03-08T18:28:00.001-08:002018-03-08T18:31:50.680-08:00On the Derrylin arson victim Diane Gossett's posthumous outing (and what it says about our local media)On international Women's day its nice to see the local press still keeping the flag flying for misogyny, showing that not only has it not gone anywhere but that it has evolved to meet the demands of the 21st century.<br />
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Page 3 of today's Irish News has some very weird content in a article about a family that have died in an arson attack in Derrylin that’s made the local papers. Specifically taking a prurient interest in the artistic activities of the 19 year old daughter of the family having been a fan-artist and banging on about for 4 paragraphs of copy and an extended caption when it was totally unrelated to the incident, or we'd have to assume so since its just dropped in the middle of the article without comment along with some other random negative details of the families lifestyle. One might charitably assume that they're trying to humanise the victims of a terrible act of violence, but it doesn't quite feel that way. "Details have emerged" of what exactly? That she had a hobby? To me that just looks like rubber necking at best and victim-blaming at worst.<br />
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<tr><td class="tr-caption" style="text-align: center;">What does this have to do with anything? Answers on a postcard</td></tr>
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In this the Irish News seem to have taken their lead from an article in yesterdays Belfast Telegraph which was specifically about this. No other subject, just this. As if this is even a thing that is in the public interest to know. Her brother and mother both died in the fire, yet the BelTel haven't devoted column inches to what they did with their down time. Was Edward Gossett into five-a-side football? Philately? Warhammer 40k? Where's the article about his pass-times?<br />
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Also, the PSNI have the guy that did it in custody, surely there's enough in the public sphere that the actual motivations behind this are apparent or at least get-able with a bit of effort?<br />
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Of course that would require time and effort, why do that when you can facebook-stalk the victims for juicy shit from behind your desk when you're pretending to work. Also, this is a part of a general pattern of behaviour by the BelTel, who have been involved in outing BDSM practitioners in the past, operate at least one sock-puppet account on Fetlife as well as indulging other types of Mrs Grundy-ism. This is part of a downward spiral in local journalism. I don't seem to recall all three of the locals being as seedy, tabloid-y and generally as shit as their current incarnations even ten years ago. The economic incentive towards lazy attention-grabbing clickbait is very real. I know that print journalism is dying on its arse these days but surely they can do better than kink-shaming murder victims.<br />
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The BelTel article is by far the worst offender, making an inordinate deal out of the fact that an erotic picture comes up right after one that Diane did based on her infant daughter (who also lost her life in the fire) on the timeline of the website hosting her art, like a complete n00b. Its a timeline, pictures come up chronologically, that's how it works.<br />
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There's quite a large sub-culture of people, mostly young women, who do this sort of artwork. There's a whole community of producers and consumers of it out there. For some it leads on to actual work as an artist, but even for those for whom it doesn't its still a healthy and enjoyable outlet for their sexual and creative impulses.<br />
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So-fucking-what if this young woman in her spare time, drew some dirty cartoons? Good. More power to her, I hope that it brought her some pleasure in the short time that she had on this earth. She sold a few? Good. Even better. Any of us involved in the creative arts should be so lucky as to get paid for our work.<br />
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The Gossetts extended family have set up a go-fund-me page to cover the costs associated with bringing their relatives back to England for burial. If you'd like to do something useful you can chip a few quid in towards it: <a href="https://www.gofundme.com/help-me-collect-my-familys-remains" target="_blank">https://www.gofundme.com/help-me-collect-my-familys-remains</a>Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com1tag:blogger.com,1999:blog-4491249042793173661.post-66559061460884492312018-02-14T20:37:00.000-08:002018-02-15T07:05:06.401-08:00On the Collapse of the talks<div style="text-align: left;">
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I heard a bit of inside goss about the situation at Stormont. The source of which I'll not divulge but I will say comes from the inside and I personally trust the veracity of. Basically with the demand that Arlene step down pending investigation over RHI off the table from the Sinner's end the DUP negotiations team, i.e. most of the leadership, were happy to go back into government. This had been one of the key demands that Sinn Fein had been sticking to, but with the recent knock on Sinn Fein's public image over the whole Barry McElduff thing and Gerry Kelly's handywork with a set of bolt cutters, they've not been feeling as smug or confident in themselves.<br />
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What's fucked things up is that the first whiff the party organisation and wider membership had of a climb down over Acht Na Gaelige they were ready to throw the proverbial dummy out of the pram. Hence the DUP were hamstrung from doing what no doubt they've been itching to do since the collapse and get back to business (or at least the petty corruption that has become synonymous with the way the DUP actually do business).<br />
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Now if that's to be believed (doesn't seem unreasonable and fits with what's been made public as well as Michelle O'Neill's statement) then once again we find ourselves in a position where the possibilities of progressive change have been held back by the leadership of mainstream unionism's failure to sell their own electorate on very basic, timely and democratically mandated reforms, the sort of thing that wouldn't be remotely controversial in any right thinking part of the world. I suppose that when you make your career on being an intractable force of conservatism, having to make even an elementary compromise becomes impossible. <br />
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There's a section of the Unionist people, hard liners who had been convinced by Big Ian that they were in the right, god was on their side and eventually they would see justice done against the forces of Nationalism, the IRA would be smashed, its leaders dragged through the streets in sack cloth and ashes, those (hopefully few) taken alive jailed and order restored, and those brave men on their side whose only real crime was loyalty would be left to go about their business and everything would be fine. So it was written, so it would be and any conciliation was nothing less than a betrayal of Ulster. On such illusions did the DUP build the rack upon which they broke the mighty UUP party organisation and become the biggest of the four main political parties in Northern Ireland. However fostering such illusions in your voter base is great crack when you're the maverick outsider and its good for beating up the people who have to make the hard choices and show some conciliation every now and again by calling. Its less fun when you're in the driving seat and have to make the hard choices yourself.<br />
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Whether the bit of gossip I've tripped over this evening is true or not: here we are, the DUP fulfilling their promise at the beginning of this experiment to make the GFA unworkable. Hard to see where things go from here, short term back to direct rule but then considering the continuing crisis in British politics who knows how long the current situ over there is going to last, we've been waiting for the other shoe to drop on Theresa May's head since the last election, it may do so by the end of the year but whether it falls from the left or right remains to be seen (congratulations to anyone who followed that last sentence through at least three tortuously mixed metaphors btw). Personally I'd love it if the whole shebang came down over brexit or the NHS crisis or something, like the government is at its most precarious any UK government has been since Ted Heath in the early 1970s, which could potentially lead to an election and a Labour administration under Corbyn, possibly in coalition with the SNP with enough of a majority to be able to force through a progressive mandate. Its not out of the question as things stand. Just as easily we could see a Palace coup from the right and Gove, Rees-Mogg or even BoJo replacing May, though how long that would last would be another question.<br />
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As ever the people of Northern Ireland will just have to shoulder the burden of our dysfunctional little shithole of a political system and get on without a functioning government or the long overdue equality legislation and live with the various petty annoyances and inconveniences as well as the major ongoing injustices that it is continues to inflict on us.<br />
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Happy Valentines Day<br />
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Update 15/02/18:<br />
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<a href="http://eamonnmallie.com/2018/02/sinn-fein-dup-deal-crashed-eamonn-mallie/" target="_blank">This</a> article by Eammon Mallie corroborates what I've alluded to and goes a lot deeper, specifically to say that the deal was agreed to on Friday, that Theresa May and Leo Varadkar were in town to announce that Stormont was back on the understanding that it was settled. It also outlines the proposal, a stand alone Irish Language Act, a seperate one for Ulster Scots and some sort of "Britishness" cultural act which sounds like a bile of boak but reflects a sop to petty bourgeois Unionism. It doesn't mention marraige equality so presumably the Sinners have fudged that for the time being. So basically the DUP negotiating team had one, they'd got Gay Marriage off the table as a key demand and retained and Arlene's head, the Sinners would get the Acht but they could have two Achts of their own to sell to their side. They couldn't even manage to deliver on that.Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-76209122655953256532017-10-02T21:49:00.001-07:002018-03-08T19:06:05.800-08:00Festival review: Edinburgh 2017<h2 style="text-align: center;">
Festival review, the Edinburgh International Festival, Edinburgh Fringe Festival, Edinburgh Art Festival and Edinburgh Book Festival 2017</h2>
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<i>Dedicated to James Kerr</i></h3>
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<i>This is coming a bit later than I’d anticipated finishing and putting this up, but sure nobody reads these things anyway so its not like it matters :)</i></div>
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The last time I was in Edinburgh at festival time I promised myself I would return. This is the first time I’ve managed to get back over for it since then, it’s now been five years and I am honestly sorry I’ve left it that long and I hope that the next time isn’t so far off. The Edinburgh Festival and its various components, including the now much larger and arguably more significant Fringe, is the most important arts festival in the northern hemisphere. The main part of the festival, just called the Edinburgh International Festival (or EIF from here on in) was founded in 1947 in the aftermath of the second World War, conceived of as a means to inject a bit of life into the economy of the city and surrounding region and as a way of bringing people together from across the world after the dislocations and upheavals of the previous years. The whole story of how the EIF came together and progressed is fascinating, if you’re interested and can stick Jack Whitehall (which I can only manage in small doses) then the recent BBC documentary <i>Festival Tales: Edinburgh At 70</i> is well worth having a look at.<br />
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1947 is also an important year to me as it was also the year my Dad was born and it was to celebrate his 70th than my Mum decided to take us all over as a present for him that we could all enjoy. This was actually plan B as she had originally intended to get us all tickets to Glastonbury. I’m kind of glad now that didn’t happen as I don’t think my Ma had anticipated how physically taxing that would have been. They would have been unlikely to get the full use of their tickets at best and I dread to think how badly that might have gone. Still, it was a nice idea and I think that the longer time over meant that we were able to take everything at an easier pace and really get the most out of it.<br />
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The EIF comprises the best of the arts; theater (from the classics of the ancient world through Shakespeare up to the cutting edge of modern stagecraft interactive multi-media performances), dance, Opera, Classical music and modern music (including this year PJ Harvey, Jarvis Cocker's current project), as well as the Tattoo and Fireworks. We didn’t get to anything at the EIF this year due to clashes, other stuff that we wanted to see not being on while we were there and with the high ticket prices you can’t just go see something at random and hope it’ll be good. As such the only interaction I had with the main festival was seeing and hearing the tattoo and fireworks from the street.<br />
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At the same time as the various shows there is also the Edinburgh Art Festival with special exhibitions in the various public and private art galleries in the city, events and specially commissioned art work, some of which becomes permanent and stays up outside of festival time as well as special events workshops and art-related stuff for kids.<br />
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As well as that there’s also the Edinburgh International Book festival, which is a series of talks, signings with authors, poetry workshops and an award for work from new writers.<br />
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And then there’s the Edinburgh Fringe Festival (EFF from now on). Again I can’t but stress the importance and cultural significance of the Fringe. Few are the stand up comics that have come to prominence on the world stage that haven’t at least gigged at the EFF and many household names in UK comedy have got their big break there. As well as stand-up there’s also loads of one-man shows, improve, talks, music, arts and crafts lessons, spoken word, performance poetry, theatre, stage magic, dance, and all sorts of un-categorisable weirdness. Stuff I missed included a live action role play, gin tasting, yoga workshops, Pink Floyd’s The Dark Side of the Moon in surround sound in a planet’arium dome with space visuals, a 24-hour D&D game, queer-burlesque and performances where the players and audience were all naked.<br />
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The whole world is here in one place. You can see performers from all over the planet and different degrees of talent and experience from professionals at the top of their game who have been known and respected in their field for decades to people who wish to be them making their first steps onto that path to people who are enthusiasts and the entirety of their ambition for what they do is to get their show to the Edinburgh Fringe. A big part of the EFF is the Free Fringe, which is somewhat mis-titled as it’s all on a tip-based system where you pony-up what you thought the show was worth or what you can afford at the end of the gig. It seems like the free fringe is the most interesting as you get a lot of people who are part of the free fringe because they dig the ethos of art and entertainment being affordable and accessible no matter what your budget, but you also get stuff that couldn’t get booked any other way and some of it is awful.<br />
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Aside from the festival itself, Edinburgh is just an incredibly cool city full of stuff to do and see with a vibrant arts scene upon which the festival is just some nice spicy gravy. Earlier in the year my sister was over for a hen-do and had a cracking time, I personally would happily go back off-season and make a proper couple of days of it.<br />
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What follows now has been cobbled together from my contributions to a thread on a web forum for people to talk about and recommend shows to each other, so while I will be talking about the festival in general I will be going into a lot of detail on some of this so feel free to skip where you feel appropriate, this is essentially “what I did on my holidays”.<br />
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The four of us got to Edinburgh at tea-time on a Saturday night and by the time we’d settled into the accommodation it was late in the evening and only my Da was up for heading into the center of town to catch a show. On previous years visiting the festival my parents had found the half-price ticket booth at the bottom of the mound, this is a great resource if you just fancy seeing “something” but aren’t fussed on what and can be a good way of hitting up shows that you might not have considered doing otherwise. We managed to get down just in time for the half price booth to close before we got there so we headed back up the mound to the main box office beside the Assembly Halls to see what was available. Fortuitously we managed to get there in time to catch a chap selling on two tickets to Mark Steel for some friends that hadn’t turned up which was starting in 5 minutes. As a fellow former member of the Socialist Workers Party in Britain I’ve seen Mark Steel loads of times and even chatted with him at conference, loved his TV work, read a couple of his books and always enjoyed his writings in the independent. His stand up comedy is usually quite political, and there was a good bit of politics in his act, as there was in a lot of the other shows at the festival. With everything that’s going on in the world, Brexit, Trump, the threat of nuclear war, Charlottesville happened while we were there, climate change and so on seeming to reach a critical point it could hardly be avoided to the point where it seemed to be all pervasive, with the consensus being very much to the left of centre. It actually felt really weird being there having <a href="http://cmcv-lifeatthesharpend.blogspot.co.uk/2016/06/on-eve-of-eu-referrendum.html" target="_blank">voted for Brexit</a>.<br />
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Anyway, Mark Steel was on extremely good form, as well as lamenting the general state of things he’s also apparently been through a bit of a hard time in his personal life which was a shit one for him but did give him a lot of good material. After the stand up we went to a bar in the back streets off the Royal Mile for a drink while we waited for the last bus back up to the flat where we were staying. We had a good time.<br />
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The next day there was also a lot of shopping and taking care of stuff like getting the bus cards organised etc. By the time we’d that sorted we got to the half price ticket booth and managed to nab tickets to Hardeep Singh Kohli and <i>The Toxic Avenger: The Musical</i>.
Hardeep Singh Kohli was cracking. Again very political humour, talked a lot about identity – being Sikh and being Scottish, the independence referendum, the atmosphere of racism post-brexit. He was funny, intelligent and made his case well without being preachy (which I respect in any political comedian), and managed to get the boot into the DUP in a very clever way that tickled the four of us.<br />
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Later on while at the venue for <i>The Toxic Aveneger</i> we were hustled into getting half price tickets to Phil Jerrod’s show Submerged. He alright, funny enough and worth the £4 but nothing to write home about. He did have one line that cracked me up about something making, “Nigella Lawson look like a middle aged drug addict”. Unfortunately the venue for The Toxic Avenger has had a fire alarm go off during a previous show and everything in that room was running late. My sister managed to do her toe in when she was in Berlin just before the festival and hadn’t got a chance to get it looked at (turned out later she’d broken one of them). It had already been giving her jip and the 20 minutes / half an hour extra wait for Toxie was a bit too long so we ended up splitting back to the accommodation.
It was a shame about our kid’s foot. I’d anticipated that as with the last time I’d probably spend a bit of time knocking about on my own, but I’d been looking forwards to just the two of us hitting a few things together after our parents took off home for the evening. Unfortunately that wasn’t to be this time.<br />
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The next day was the Monday, we sat in the gaff in the afternoon watching the new episode of Game Of Thrones and Rick and Morty before heading out (I had my laptop over with my HDMI cable specifically for that purpose, though it would come in handy later), I then spent ages running around getting our <i>Toxie</i> tickets sorted. They hadn’t been able to provide a refund or to get them swapped to a different date at the venue on the previous evening because the tickets had been purchased from the half-price booth though they had been good enough to make a note on whatever system they were using to the effect that even though the half price tickets are supposed to be non-refundable under the circumstances they were happy to allow it. Me and my Da hit the main ticket office on the Royal Mile and they said they could only issue a refund, but that the half price booth might be able to get them swapped. After trekking down to the bottom of the mound it required a lengthy explanation of what had been happening and a chat with a manager to finally get sorted, which amounted to them refunding the tickets (though not straight away and only because the note from the venue was on the system) and allowing us to purchase the half price tickets for the next night as we already had tickets for another show at the time <i>The Toxic Avenger</i> was on.<br />
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With that sorted we popped into the national gallery and caught a bit of their general exhibition of contemporary Scottish art, which was awesome. After that my Da went back up to see the girls and get food, I spent a lot of time on my own bombing about the Royal Mile seeing street performers and stuff and allowing myself to be flyered. The last time I was in Edinburgh that was how I found a lot of the better stuff I ended up seeing. I only caught a couple of shows that day before hooking up with the rest of the fam much later. I saw <i>Bare Threads</i> a physical theater piece about the relationship between clothing and the human body, which just re-iterated to me that dance based physical theater isn’t really my thing. I saw <i>ForniKateRess</i> at the Banshee Labyrinth, a one woman show from Kate Smurthwaite talking about what being in a poly/open relationship is actually like which was pretty good. It was a very small intimate venue. I’d not heard of Kate before that I could remember but I liked her and enjoyed the show. Poly and non-binary gender seem to be such a big part of the conversation around sexual politics these days that it featured quite a lot in the festival in general. One thing I noticed that was different to the last time that I was there that any show where there was a compare they always started “ladies, gentlemen and anyone in between” or words to that effect rather than just “ladies and gentlemen, etc.” Kate Smurthwaite is a sort of left wing Katie Hopkins, in the sense that she’s carved out a niche for herself by trolling the right wing tabloids and broadcast media. Which is fair enough like, you need to do or say very little to trigger those fuckers and nothing on the level of moral reprehensibility of Hopkins. The show was entertaining and informative as intended. I found her personable, engaging and funny, so you can imagine my annoyance when I got home looked her up and it turned out she was a massive SWERF.<br />
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After that I finally saw Jerry Sadowicz live for the first time ever after being a fan since I was literally a little kid. It was everything I dreamed it would be any more, raw, dark offensive humour, manic delivery, card tricks, you know the score, he started hard and didn’t let up, the first five minutes of the show was him introducing himself with a series of rapid fire one-liners delivered breathlessly and already hitting you with the next one by the time the last one had landed. The man is a legend. It was a nice tonic to the decidedly lefty humour that everyone else was doing. During the show he managed to tell a two line gag, which I dare not repeat, that is simultaneously the most racist and sexist joke I’ve ever heard in my entire life. No mean feat in its own right but it was made all the funnier when he said that he had actually woke up with that joke in his head. “Imagine waking up at four in the morning with something like that going through your mind and thinking, fuck, that’s pretty good!... you think its hard listening to me, try being me”. That to me is Jerry Sadowicz in a nut-shell, that’s why even after the massive cultural shifts of the last decades he and he alone really gets away with that type of humour and why I, card carrying Trot SJW and all that that I am, still find him funny and if asked seriously who my favourite comedian is will shoot back that its him without batting an eyelid. As nasty as some of his jokes are, you just know that the coruscating rage behind his humour is largely directed inwardly. He’s a very troubled man, a real life Rick Sanchez, a genius driven by self hatred but who can do amazing things that appear to defy the laws of physics and carry it off with dank sardonic wit. Rarely in my life have I laughed at live comedy as hard as I have at that gig.<br />
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I was going to go to the Voodoo Rooms after to catch a bit of late night cabaret as the venue was nearby but I got a bit of bad news from home and didn’t really feel like staying out after that.<br />
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The next day we got into town in the late afternoon. I had a crack at the VR thing in the half shipping container in front of The Assembly Rooms on George Street which was part of the <i>FuturePlay</i> segment of the fringe. That was cool, if a bit steep at £12 for half an hour but I’ve never seen or done anything like that before so it was well worth it.
That was just before we went to see <i>Performers </i>in The Assembly Rooms. <i>Performers </i>was a play by Irvine Welsh that my Ma fancied seeing after seeing him promote it on The Wright Stuff. The play was inspired by the film <a href="http://www.imdb.com/title/tt0066214/" target="_blank">Performance</a>, a fucking mental art-house movie made in the late 60s about an east-London gangster holing up in a house with an eccentric former rock star played by Mick Jagger. The film apparently featured some real east London gang members playing the other gangsters the protagonist was hiding from and Welsh wondered, considering all the weird homo-erotic sexual stuff in the film, how the casting sessions must have went and this play was his answer. I thought it was good crack but I can totally see why it got <a href="https://www.theguardian.com/stage/2017/aug/11/performerscreatives-reviews-irvine-welshs-two-plays-are-exercises-in-tedium" target="_blank">panned by the Guardian</a>. Some of the dialogue in the cockney idiom didn’t quite ring true and all the rhyming slang came across as cheesey. Still it had its moments and the plot resolved itself nicely.
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After <i>Performers </i>the folks split to get fed and I went off on my own to see Stephen Baxter in conversation with Ken MacLeod (Scotland’s greatest living sci-fi author who introduced a series of talks) at the Book Festival. It was very interesting. He was talking about his new book <i>The Massacre of Mankind</i>, which was his sequel to HG Well’s classic <i>The War of the Worlds</i>. He’d previously done a <a href="https://www.goodreads.com/book/show/62992.The_Time_Ships" target="_blank">sequel to Wells <i>The Time Machine</i></a> which was quite well received when it come out so he has form. This sounded great, the discussion took in both general chat about his work but also the process of adapting someone else’s work and went into a bit of depth about the history of and what was great about the original. That said its going to have to go onto my massive To Read list and I doubt I’ll be getting onto it any time soon.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Ic0aHI8YHZM/WdNvbT8ZlxI/AAAAAAAACVo/c3dIDY3puVoaZCV6CHjfHgMwoTdnqbvjQCLcBGAs/s1600/toxic%2Bavenger.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="300" height="320" src="https://2.bp.blogspot.com/-Ic0aHI8YHZM/WdNvbT8ZlxI/AAAAAAAACVo/c3dIDY3puVoaZCV6CHjfHgMwoTdnqbvjQCLcBGAs/s320/toxic%2Bavenger.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The poster from the original movie.</td></tr>
</tbody></table>
<br />
I got some food then caught up with the fam and we finally did get to see <i>The Toxic Avenger: The Musical</i>. It was good fun. It pretty much was what it promised, the plot of which should be familiar enough to any fans of the original but for those unacquainted, the film was the flagship super-heroic franchise from legendary New Jersey indie studio and distribution network Troma. The story is of a Melvin Ferg, a 98 pound weakling who gets bullied by the jocks at the health club in the town of Tromaville N.J. where he works as a janitor and after being thrown by said jocks into a vat of nuclear waste instead of dying like you'd expect he is transformed into a hideously deformed creature of super human size and strength and calling himself the Toxic Avenger vows to clean up the town both figuratively and literally with his mop. The film is a cult classic and both it and its various sequels are excellent slices of horror-comedy with silly gross-out humour, good low budget live effects, titties, and environmentalist themes. The musical did a half decent job of translating the story to the stage with forgettable but fun musical numbers and some good irreverent humour and a Rocky Horror Show reference. I had a good time and thankfully my folks, who had been dragged to it by me, also enjoyed it.<br />
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The next day was probably the best one of the whole trip and I had my wee mind blown more times than I could count. We started early, me and my Da hitting the Jacobite exhibition in the national museum while the girls went for a drink. The exhibition gave a fairly entry-level skim of the topic but had the personal battle armour of one of the Stuarts, an amazing array of early-modern weapons, secret toasting cups and other paraphernalia. My Dad really enjoyed it as did I though we did think that it was hilarious that the war in Ireland after the Williamite succession only got one small informational plaque, the same as the massacre at Glencoe where a whopping 37 whole people were killed. The museum itself was awesome and I’m sorry I didn’t have a whole day to do the whole thing, again something I wouldn’t mind doing some other time off season.<br />
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The next show we saw was Dan Gordon’s show <i>Frank Carson: Rebel Without a Pause</i> in the Assembly rooms. I wasn’t expecting much from this tbh, it was mostly my Ma’s idea to go and I probably wouldn’t have gone to see it if they weren’t going. Frank Carson was known mostly for his inoffensive humour and cheesy catchphrases and I wasn’t expecting it to be brilliant, though I reckoned I’d probably find it interesting since it was a Norn’ Irish performer doing a show about one of our local minor light entertainment stars. I am happy to admit that I was well wrong about that. Frank Carson had an amazingly interesting and eventful life even prior to getting into show business, his story touches on class, sectarianism, imperialism and actually the frequent jokes that punctuated it make sense It actually did something I never thought I would see done well, capturing our humour and our way of using it to deal with grim reality. And fuck it, the jokes are funny, cheesy dad-jokes are the best.<br />
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After that the rest of them split off back to the flat to give Catherine’s foot a break from the running around. Edinburgh is a class city but getting around the city center to the various festival venues is not easy. It’s not actually that big of a space for a major city but the great big hill in the middle of it and all the streets and back streets make it appear a lot bigger than it is. Doing the festival is physically taxing at the best of times but somewhat less than ideal on a sore foot. My laptop did end up coming in handy. As well as allowing me the use of the internet when I was at the accommodation I also have tons of films and series saved on it so when the girls ended up home bound they had a good few options to keep them entertained, <i>Stranger Things</i> got rinsed among other things.<br />
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So they went off and I saw <i>Tago</i>, a Korean traditional drum music / physical theater performance. It was pretty amazing, I’ve always been a huge fan of percussion, this was a masterful display of drumming with the young crew of (extremely fit and often shirtless) young Korean gentlemen playing sets and arrangements using different set ups of the drums used in Korean music. The first bit started simple with a single pounding beat on the huge bass drum which reverberated through the room and slowly built up in intensity from there. So it went with the rest of the show, until at the end there was dancing and spin kicks all over the stage. The lads pulled it off with a lot of humour, bringing elements of physical comedy into their set that seem designed to transcend language (they take this show to festivals all over the world) and audience participation. The leader of the troupe after introducing the performers beat his drum then got us to clap back in time, this got progressively more elaborate until he did one that was impossible to keep up, though one little kid did have a go and just kept clapping his hands like mad back at him, the guy laughed and did the universal “I’ve got my eyes on you” two-fingers hand gesture to the wee’an. You can actually <a href="https://www.youtube.com/watch?v=cCNZezDzS90&t=2846s" target="_blank">watch the whole show on YouTube</a> if you want to see what I’m on about (recorded a while back in Seoul but it’s the same show).<br />
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Earlier in the day I saw a poster for Andrew O’Neill’s <i>Black Magick Fun Hour</i> at the Free Fringe. I sort of remember seeing O’Neil on TV, but what caught my eye was that he spelt ‘Magick’ with a ‘k’ at the end which usually connotes that we’re not talking card tricks, illusions and shit, but the ‘Real Thing’. The show started with Andrew entering the room stage right wearing antlers and incanting a prayer to the trickster god, thus inducting us into his cult for the duration of the show. It was an interesting performance themed around the occult and how he uses it in his every day life and in his work as a writer and performer “a joke is a spell that causes the diaphragm of another human being to vibrate” etc. so it was a very informative window into his world and belief system as well as being an incandescently funny stand up routine. Next to Sadowicz he was probably the funniest comic I saw at the festival and felt like he was really good crack, would be a good laugh to hang out with and I was sorry I didn’t have the time to chat with him for a wee minute after as I had to rush off to another show.<br />
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And rush off I did, to see the legendary slam poets Sage Francis and B. Dolan’s show <i>Tricknology</i>. This was one of the shows I clocked on day one and knew I was going to hit at some point in the week, so it was a short trek down the mound back to George’s street, this time to the Masonic Hall. Their show was unreal. I thought it was just going to be them doing their tunes and whatnot, instead what I got was a comedic interactive performance where they were pretending to be gurus / motivational speakers, we were inducted into their program, the Tricknology of the title. It got the boot into Scientology, PUA culture, psychics and poetry slam culture. Hilarious, relevant, Brilliant.
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<br />
After the show let out it was about 8pm-ish and I had a tour around and found something to eat (no mean feat for me with my incredible list of physical allergies), I got a call from the folks to say that Catherine’s toe was still bothering her but my Dad was in town. We found each other near the museum and went to a bar to have a drink that was participating in the Free Fringe and had some live music. When we got to the bar there was no live music, because it was an Irish bar and it was showing the Celtic match so instead we managed to catch the last half + extra time of Celtic hammering some Kazakhstani team 5-0 in the European Champions League and see the last three goals. Neither me nor my Da are big football fans or anything, nor are we Celtic supporters per se but that was unreal. The atmosphere in he bar was tense, every goal was one step closer to the next round and closer to the next round, any goal by the Kazak side would be one up for the next match so even though they were winning and had decisively won by the time we got to the bar every second was still a big deal. The drama of the match and the way the room lit up when Celtic scored, gown men singing and crying in each others arms, it was up there with the best things I saw at the festival all week. Never mind the distinctly average guy playing his acoustic guitar that came on after, they should have been flyering for that, like that deserved its own listing on the festival program – enjoy the cutting edge Multi-Media installation (aka big screen TV’s showing the fitba’), an authentic slice of proletarian sporting culture, Celtic FC in a real Irish bar in Scotland!<br />
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So that was a nice bit of male bonding for the lads anyway. Later on found me at a venue I hadn’t been to before – The Black Market down by the railway station. It was quite a nice venue and again, somewhere that I reckon would be good crack off season. It was quite a big venue with lots of small rooms. I reckon that with a bit of forwards planning you could spend all day here if you weren’t too fussy about what you were watching and hang in the bar between shows, in fact there’s a few venues you could do that if you were forewarned, which would probably be a lot more sensible than hoofing up and down the mound all day, like an idiot, like me that particular day. Anyway, I was the only person who turned up for the show I wanted to see, which was an interactive gaming thing you needed at least two punters for, and I ended up getting lured into a small room for something called <i>I AM THE SEX</i>. That was a bad move. It looked good on paper and the two performers were affable enough as they hustled people up to their show but Je-sus. It was supposed to be a sort of sex-positive feminist stand up but it was just grim. The girl couldn’t tell jokes, it was all really shit single-entendre gags, delivered artlessly and with a smug self-congratulatory drawl. The less said about her mate the better, like seriously if you have suffered a recent trauma and need therapy, get therapy, don’t visit that stuff on an unsuspecting group of punters expecting to be entertained, especially if you genuinely can’t hack your own material yourself yet.
This was not just the only show at the Free Fringe I didn’t even chuck a few quid towards. I actually got up and left, awkwardly, in the middle of it.<br />
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When I was getting my stuff together to leave, the girl who was sitting next to me whispered, “are you going?”.<br />
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“Yeah”, says I.<br />
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“Please take me with you…”<br />
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So, I managed to make my own escape and facilitated another person’s exit. My only regret about that is that I didn’t have the energy in me to heckle. I swear I am too nice for my own good sometimes. Rarely have I ever felt the need to tell anyone involved in any creative or artistic pursuit that they were irredeemably bad at what they were doing and that the world would be a better place if they just gave up and put their time into something else but that was one of those times and honestly it was apathy and fatigue after running around Edinburgh all day that stayed my tongue rather than civility.<br />
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The next morning we all got ourselves together early and trekked out to the <a href="http://www.camera-obscura.co.uk/" target="_blank">Camera Obscura</a>. This wasn’t part of the festival it’s a tourist attraction (the oldest one in the city) that is permanently in Edinburgh on the Royal Mile just before the castle. It’s a museum of optical illusions, at the very top of which is the Camera Obscura itself, a live moving image projection of the street around the tower that’s been there for 175 years.<br />
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The first show we saw that saw was <i>Nick Hall: Spencer</i> at the EFF. While the main reason we went was that the performers girlfriend an old friend of the family and we went mostly to see her, the show itself was pretty good. It was a one man show about Spencer Perceval the only Prime Minister in British history ever to be assassinated and why nobody really remembers him or knows anything about why he was shot. It was quite an interesting story too, like right enough I reckon most people, most Brits could name at least two US presidents who’ve been assassinated in office but I doubt most people would even be aware that a sitting UK Prime Minister had ever been assassinated, never mind who he was or why. Also not a bad little factoid to keep up your sleeve for pub quizzes and the like.
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<br />
After that I caught a talk at the Book festival. It was a discussion between Adam Roberts (a well known sci-fi author who is also an academic), Farah Mendlesohn (academic and scholar of genre fiction known for her non fiction writing about Sci-Fi who’s also had some fiction published) and Jo Walton, a fan critic and writer, chaired again by Ken MacLeod, on the subject of ‘What Makes Science Fiction So Great? This was a very useful event for me as I am currently working on a bit of long-form prose in the genre and listening to the discussion, especially the actual argument that broke out among the panellists at one point, helped me firm up my own ideas about how I should approach writing the genre.<br />
<br />
<a href="https://1.bp.blogspot.com/-fthZa6LpgX8/WdMU-9CrgaI/AAAAAAAACUw/hCbDo1rFvtYlBNX-iELbNiECyktWuahcgCEwYBhgL/s1600/IMG-20170928-WA0002.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1296" data-original-width="972" height="320" src="https://1.bp.blogspot.com/-fthZa6LpgX8/WdMU-9CrgaI/AAAAAAAACUw/hCbDo1rFvtYlBNX-iELbNiECyktWuahcgCEwYBhgL/s320/IMG-20170928-WA0002.jpg" width="240" /></a>After that I hooked up with my folks for a meal at a pop-up restaurant in a bicycle shop. This was something that my Mum, huge foodie that she is, was very keen on doing. The guy running the pop-up is the cousin of one of my good friends and he and his staff made sure that I was well catered for with my horrendously large amount of food allergies. That was pretty cool, class setting, proper fancy restaurant food and me being well sorted. It was the sort of thing that you couldn’t do easily back in Belfast, the sort of thing you come to the festival for.<br />
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Later that evening I caught <i>The Bubble Show For Adults Only</i>, a burlesque show involving bubbles, lots of bubbles. I liked it, the two performers were good at what they did and quite hot. Great stuff, if you like burlesque and particularly if you kink hard for bubbles (is that a thing? That’s bound to be a thing...).<br />
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I then did manage to see the <i>Cabaret at the End of the Universe</i> in the Voodoo Rooms before going home that night. It was good being back in that venue, which was one of the more interesting ones that I’d found on my last Edinburgh adventure. The acts were good but that night’s crowd were awesome and I get the feeling that the guys running and compèring the thing were having as much fun on the job as we were watching it.<br />
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On returning home I was conscious of the fact that the next day was my last full day at the festival and I resolved to try and fit in as much that day as I could. I also realised that I still hadn’t seen any real serious theater up to that point except <i>Bare Threads</i>. Live drama is something I’ve always had an interest in and enjoyed but an its interest I tend to neglect. I had been looking forwards to catching some at the festival but it just hadn’t happened. So I promised myself that the next day I’d get into town early and try and squeeze as much of that as I can, if I could, and that I’d be happy if I hit 3 or 4 shows of that type. I went through the programme for the festival marking out shows that looked interesting, times and noting location, distances, estimated times between and so on.<br />
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They say that no battle plan survives first contact with the enemy. That was the case that friday morning as I slept in a little and didn’t manage to get into town quite as early as I had intended and missed all the early and pre-afternoon stuff I’d pegged as interesting. So in spite of my mission the first thing I saw was a comedy gig, <i>Star Wars Vs Star Trek</i>. This was a young Scottish comedian conducting a debate between two other festival performers on the merits of the franchises. This is a conversation I’ve had many times with a host of different people and have developed some very definitive ideas about over the years (basically that he two franchises share only superficial similarities and are when you get right down to it are quite different beasts so there’s no fair basis for comparison). It was good fun. My favourite bit was after being asked from the stage whether I personally was for Star Wars or Star Trek hitting back immediately, “Babylon 5” and being told to “fuck off“ by all three of them.<br />
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Next I saw my first serious theater of the day, <i>Crazy Horse, a Dream of Thunder</i>, a one man show about the Sioux Warrior Crazy Horse’s life story. It was a tale powerfully told that got you right into the mindset of the man himself and his people and actually did go deep on their internal politicking which led to Crazy Horses betrayal and eventual death. The way it was framed was that Crazy Horse, the night before his death was summoning the spirits for a vision quest and we in the audience were the spirits and he spoke to us as such. Great stuff, I find that whole period of history heart-breaking, especially in the knowledge that their oppression never ended and continues to the present day, I got pretty emotional watching the whole thing, especially at the end.<br />
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After that I bounced down the hill and had a crack at the <i>FuturePlay Tech Zone</i>. This was a series of machines and what were essentially gaming apps in stand up cabinets and the like in a dome in the street front of the Assembly Rooms on George Street. Some of it was good fun but I reckon it should have been about half the price, not mind blowing or unique like the VR experience. I have apps like this on my phone and can get more for a couple o quid each, why pay £12 or whatever to do this for an hour?<br />
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I then bate my way back up the mound to see <i>The Fall</i>. I’d had this one on my to-do list from getting flyered for it on day one and it did not disappoint. An hour and twenty minutes on South African student politics may not sound like everyone’s cup of tea but I loved it. As someone who is a member of the organised left and former student activist / occupado myself I’m pretty much the target audience but I really rated the stage craft, the acting from the young cast and all the writing which was able to convey the inherent drama of protest politics and the debates and disagreement’s brilliantly. <i>The Fall</i> was so called because the Students Movement kicked off from a campaign to take down a statue of Cecil Rhodes from the Cape Town University campus and rolled on from there making the subject matter timely and relevant, particularly in the wake of Charlottesville which had happened that week. Each performer represented a different facet of their student movement, I’m guessing an amalgam of actual people involved, a queer feminist student, a couple of lads from the shanty towns, one of whom was doing medicine, a trans student, one from the struggling middle etc. The scenes were punctuated by the sort of harmonised sing-chanting that they do on demos there. It was stirring stuff and as I say, a well done bit of theater arguable the best thing I saw in the whole trip. At the end they announced that in the wake of current events the performances were dedicated to all those struggling against oppression world-wide.<br />
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After that I had a cup of tea and a dander. I ended up going to see <i>Evocation</i>. That was... interesting. Well, it wouldn’t be Edinburgh if I didn’t go see something really artsy and pretentious, some of which I really enjoyed. This took me a while to get into to and while I did eventually come to like it, it didn’t really captivate me the way a performance like that should have. I was just attracted by the promise of an industrial noise soundtrack and glove puppets, which I got tbf.<br />
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I wanted to see a thing called <i>The Gun Show</i> after reading about it online above but that night’s showing wasn’t on for some reason. I ended up going to see <i>Anathema</i>, a story about a young man dealing with a sexual assault. In the program it mentioned that this was the first thing had been completed by this particular playwright. It showed. It was very raw. Whilst the dialogue was decent, the cast did a fantastic job and it did tease out some of the subtleties of the issue at hand in a sensitive way it didn’t all quite hang together and the “twist ending” thing didn’t work for me, though on reflection maybe the parts of it I had issues with were sort of ‘the point’. The B plot about the other flatmate’s more complicated sexual encounter rang a lot truer imo. Anyway, it was a good effort and I reckon that the team behind this would be ones to watch in the future.<br />
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After that having met my goal of hitting four non-comedy shows I went down to The Voodoo rooms for some <i>Illicit Thrills</i>. I’m not sure if I should I describe this as “immersive feminist physical theater”? Or should I just call it what it was, a strip show – an informative one with quotes from one of the performers PHD thesis in the subject, irony and meta-jokes but still a strip show with real strippers? Take your pick, either way I kink hard for politically conscious ethical perving so I had a good time watching it.
Going home in the taxi I knew that that might have been my lot for that year as we were leaving the next afternoon and I hadn’t managed to get into town before 12:30pm once that trip. If that had been the case at that point I actually wouldn’t have been too annoyed and felt that I’d got the most that I could out of the festival.<br />
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I did however manage to drag myself up early enough the next morning to get into town in tome to catch a couple of shows. I saw a play called <i>NSFW</i>, which was a satire of the publishing industry, specifically ‘Mens’ and ‘Women’s’ Magazines. It was ace, it was a bit like watching a live episode of <i>The Thick Of It if</i> they’d done an episode set in that world, tight script, razor sharp dialogue and similar-ish tone. I thoroughly enjoyed it, which was just as well since it was actually a plan b. I’d intended to see a stage production of Ray Bradbury's famous dystopian science fiction novel <i>Fahrenheit 451 </i>(based off Bradbury's own script) but the box office had sold out when I went for a ticket, they’d actually sold out of <i>NSFW </i>tickets too but said they might have them at the venue itself if I went round, which I find a bit odd as the show itself wasn’t packed out our anything. That’s one of the peculiarities of the festival that I’ll have to make a note of for the next time, ticketing and allocation is weird. When I bought something from the various different box offices I had to create an account for some reason, which did come in handy with the <i>Toxic Avenger: The Musical </i>tickets but was a bit annoying. They might have that fixed for the next one or it may even be easier purchasing the tickets through the apps for the Fringe and Free Fringe (something I only discovered late I the game and will probably make a lot more use out of next time).<br />
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I had a bit more luck after. At that point I had no plan, wasn’t fussy and just wanted to see one last thing, I had a dander and managed to get the last space in the room to see Phil Jupitus reading his poetry at the EFF in Bannermans for that day. It was brilliant. I’ve always liked him on TV, was only vaguely aware that he did poetry (he’s a cracking DJ and all) but I’ve never heard or seen any of it. He kept apologising for not being in a good mood but I thought the show was awesome, funny as you’d expect from such a comedy veteran but at times touching and profound as great poetry can be. The two guests he had on were pretty good too, one was from the show that was on after, a showcase for black performance poets. Had it been a different day I’d have considered sticking about for that but I’d a ferry home to catch so that was my festival over for 2017.<br />
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So, congratulations to anyone that’s read this far, particularly if you’ve done it all in one sitting. I should be giving out prizes or something and I swear I will finish soon. There is one last thing that I need to get off my chest before I wrap up. The one thing I regret about being at the festival though was that being there prevented me from getting to the funeral of my mate James Kerr who passed away suddenly and unexpectedly and whose funeral that week. James was someone I always had a lot of time for and was more to me than just someone to get wrecked with. I felt bad about not being home to grieve with the rest of our crew. I’d considered coming back home for it but the I honestly couldn’t have afforded to and the way I looked at it, if the boot was on the other foot and it was me and he’d been over the water with his kids or something I’d not have expected him to drop everything and get home for mine. James was someone who read my previous <a href="http://cmcv-lifeatthesharpend.blogspot.co.uk/2015/03/bangface-2015.html" target="_blank">blog post about the 2015 Bangface</a>, took the time to tell me how much he enjoyed reading it and was very encouraging about my writing. Getting feedback like that from someone you know and whose opinion you respect is fantastic and a good boot up the arse towards taking all this more seriously. I appreciated his encouragement at the time and still do. So for that reason as well this one is for him. Rest in peace chum.<br />
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So with that said, and to not finish on too much of a downer I’d like to say in conclusion is that the festival is amazing (in case that point hadn’t been hammered home quite enough in the near 8k+ words above). Your art is the trace that your soul leaves on the world as it passes through; it’s a big part of how we connect with each other and across space and time. It’s that connection that the festival was intended for in its inception and what after 70 years it still delivers. That was my Edinburgh experience and is largely reflective of my tastes and interests at this time. It is the biggest arts festival in the world with thousands of shows, whoever you are and what ever you are into you will find a ton of stuff there that will reflect yours, and find yourself giving stuff a go that you might never think you’d like but find you actually love. Anyone who is involved in any creative enterprise of any sort should get on this put make performing at the festival at least once something to strive for. I do appreciate that it’s not all fun and games for the performers, getting over getting a venue, putting the show on and accommodation and all that can be difficult and expensive as hell. Friends of mine did a musical comedy show and brought to the fringe about ten years ago and to the best of my knowledge are still paying off the debt to this day. That said, for anybody in comedy in particular it can make your career. For me I left feeling tired but stimulated and encouraged in my particular thing and resolved to get my head down and write. I’d love to say that I’ve been dead productive since getting home, in all honestly I’ve not been at it as hard as I should be but I have been a lot busier than any time previously in the last couple of years and have taken steps towards doing more in the future. I’ve said it before and I’ll finish by saying it again, Edinburgh is a really cool city, one I will be back in some day and I will return to this festival again and hopefully not leave it as long this time.Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-59186675500712353002017-02-14T11:26:00.002-08:002019-03-09T15:27:55.275-08:00Cartoons all Revolutionary Socialists should make their kids watch, Part VI Steven Universe<h4 style="text-align: center;">
<br />Welcome back to this occasional series which I haven’t updated for way too long. This installment is a bit of a departure because it doesn’t deal with a series from my childhood or a more recent feature film, but with a series that is currently ongoing and yet to reach its completion, something I hadn’t anticipated doing way back when I started this.<br /></h4>
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What it’s about:</h3>
<br />Thousands of years ago a race of immortal crystalline alien beings from another part of the galaxy (the Gems) came to the planet earth in order to harvest it for its mineral properties. Some of the Gems realised that the merely organic life-forms, the animal and plant life that lived on the planet which would inevitably be exterminated by the harvesting process had intrinsic worth no less than their own and rebelled against their home-world. They succeeded, saving the planet and the life on it but at a cost, all but four of the rebels being destroyed in the final battle. In the centuries and millennia since as human civilisation has grown up around them these surviving crystal gems have been quietly protecting the organic life on this planet from the odd crystalline mutants that occasionally threaten it.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-xyevWaHXtiA/WKNXQ6misgI/AAAAAAAAARA/VdymM4Hu_eYJ2dlG4fpbpO2_RkPjQGCawCLcB/s1600/steven-universe-steven-and-connie-training.png" imageanchor="1" style="background-color: black; clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: white;"><img border="0" height="179" src="https://4.bp.blogspot.com/-xyevWaHXtiA/WKNXQ6misgI/AAAAAAAAARA/VdymM4Hu_eYJ2dlG4fpbpO2_RkPjQGCawCLcB/s320/steven-universe-steven-and-connie-training.png" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black;"><span style="color: white;">Steven and his girlfriend Connie training to fight the bad Gems</span></span></td></tr>
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More recently, the leader of the rebels, Rose Quartz, fell in love with a human called Greg Universe and in order to procreate (something the crystal gems can’t do by themselves) she gave up her own mortal form to give birth to a son, Steven. The series picks up when Steven is just on the cusp of adolescence, and follows him on his adventures as he learns to use the powers and abilities he inherited from his mother to take his place as a defender of the Earth, and learns to be a young human being as well.<div>
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Why it’s Good:</h3>
<br />I think its easy for our generation to get overly emotionally attached to our childhood memories and easily dismiss any contemporary animated series in favour of nostalgia for the stuff we used to watch when we were wee. This would be a mistake and Steven Universe is but one example of something that is as good as if not better than any of the stuff we used to have. In fact one of the things that makes it good, and I believe should be accessible to people my age who might have kids of their own, is that it is quite clearly the product on one of our generation. <div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-yiNRxIQE-7I/WKNX3Km-6nI/AAAAAAAAARE/KZpRss2k3e0ZXzY7hsm_S50N8cpYLbpdgCLcB/s1600/c41fb663f64e997ac0351e73004b47b5.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="181" src="https://1.bp.blogspot.com/-yiNRxIQE-7I/WKNX3Km-6nI/AAAAAAAAARE/KZpRss2k3e0ZXzY7hsm_S50N8cpYLbpdgCLcB/s320/c41fb663f64e997ac0351e73004b47b5.png" width="320" /></span></span></a></div>
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From the little chip-tune bassline in the opening titles to the background art and character design the whole aesthetic of the show is permeated by 8 and 16 bit computer gaming culture. You can also see the influence of Anime through the look and the story lines of the whole series. It’s kawaii without being sickeningly cutesy (a balancing act that is often tried and utterly failed at in Western animation). <br /><br />The show is light, funny, full of charm but also has this epic backstory and various arc-plots that run throughout it and lots of big sci-fi concepts that are jut casually implanted into the story in a way that seems perfectly natural and wouldn’t confuse or alienate its younger viewers. Its emotional when it wants to be and when the arc plots kick into gear towards the apex of the seasons it is genuinely exciting.<h3>
What the Young ’Uns will hopefully take from it:</h3>
The underlying philosophy of the show is intensely humanist. Steven, our hero’s main attribute is his humanity and empathy. he sympathises with the mindless crystal shard creatures which he and the Gems have to hunt down, and this sympathy can be an advantage, something which he has over the Gems. <span style="background-color: black;"><span style="color: white;"><br /></span></span>
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<a href="https://2.bp.blogspot.com/-FJhV8IUxOJU/WKNZKLZB5rI/AAAAAAAAARY/386UN2XvHUAfR8XSA23_L5wnGbLaXQVwgCLcB/s1600/tumblr_static_tumblr_static_3hnvyll95cows0okwwosow8cs_640.png" imageanchor="1" style="clear: left; float: left; font-family: helvetica; font-size: 12px; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="112" src="https://2.bp.blogspot.com/-FJhV8IUxOJU/WKNZKLZB5rI/AAAAAAAAARY/386UN2XvHUAfR8XSA23_L5wnGbLaXQVwgCLcB/s200/tumblr_static_tumblr_static_3hnvyll95cows0okwwosow8cs_640.png" width="200" /></span></span></a>While much of the premise of the show is quite personal (it is inspired by the relationship between the show’s creator and her younger brother) there is some very deep subtext going on that should be of interest to readers of this blog. As alluded to above, the Gems come from a rigidly hierarchical society that is prepared to commit ecocide for its own material gain and the goodies in the series are rebels that defy their social norms by becoming more than their designated roles. Which is great and everything but so far, so liberal. The really interesting stuff is what the show does with gender and sexuality.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black;"><span style="color: white;">Greg with an infant Steven from a recent episode</span></span></td></tr>
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<span style="background-color: black;"><span style="color: white;"><br /></span></span>In the series the Gems don’t procreate organically and so needn’t have any particular gender but yet are all female. Which essentially means that the characters with Super-Powers are all women. This was a deliberate move on the part of the show’s creator Rebecca Sugar to "tear down and play with the semiotics of gender in cartoons for children”. The show isn’t intended to be an action adventure show for boys or a cutesy show for girls but to break the gendered social norms of the medium and create something genuinely inclusive. There’s implied lesbianism, the show has touched on gender queerness. The one adult male figure in the shows main cast, Greg Universe (Steven’s dad) is kind of a bum, though he is sympathetically realised and still quite a good dad. Basically we are a long long way from He-Man. This is perhaps the main reason that it has the massive multi-generational fanbase that it has.</div>
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What’s also really interesting on the show is the concept of Fusion. In the context of the show two Gems can, through a delicate dance particular to their pairing, come together or ‘Fuse’ into a single being with the qualities and attributes of each. What this concept is used to explore on the show is the nation of human connection, relationships, taboos around sex and sexuality. This is done with deftness of touch and a sex-positivity as well as body positivity and acceptance of difference.<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-mD9ZLGOxcsA/WKNZGnUTNkI/AAAAAAAAARU/GwxrWlZHvsoF_SZEM_kush3UVvnu_12PgCEw/s1600/Steven-Universe-Season-2-Episode-76-still--1-.jpg" imageanchor="1" style="background-color: black; margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="360" src="https://3.bp.blogspot.com/-mD9ZLGOxcsA/WKNZGnUTNkI/AAAAAAAAARU/GwxrWlZHvsoF_SZEM_kush3UVvnu_12PgCEw/s640/Steven-Universe-Season-2-Episode-76-still--1-.jpg" width="640" /></span></a></div>
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Capitalism is structured around patriarchy and the behavioural norms associated with the nuclear family, heteronormativity and cis-sexism. Cultural projects like Steven universe that are about consciously breaking down those structures could be argued to be part of a re-alignment within bourgeois society, or alternatively as being an inevitable part of the gradual realignment of the system into something else. Either way it would seem to be a step in the right direction, and its great that the show itself is so good while wearing its deeper meaning on its sleeve. Its one of the few shows rom recent years I’m sorry i didn’t get to watch when I was younger but I’m glad exists now.</div>
Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-48859756677876784012016-09-01T08:19:00.001-07:002016-09-01T08:19:12.570-07:00On the Impeachment of Dilma RousseffFor anyone unaware of what is happening in Brazil, the president has been formally impeached under spurious charges of "corruption", which in the context of Brazillian politics reminds me of the line in Apocalypse now about handing out speeding tickets at the Indy 500. About 60% of the people who voted for Dilma Rousseff's impeachment are themselves under investigation for corruption.<br />
<a href="https://4.bp.blogspot.com/-TvrSg-mLROU/V8hGcojuANI/AAAAAAAAAQI/pU5qhLPwiSwBA3_ooc0XXzKH-nk1Za_HQCLcB/s1600/Dilma-flag.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="248" src="https://4.bp.blogspot.com/-TvrSg-mLROU/V8hGcojuANI/AAAAAAAAAQI/pU5qhLPwiSwBA3_ooc0XXzKH-nk1Za_HQCLcB/s400/Dilma-flag.jpg" width="400" /></a>Basically this is a right wing coup against a popular president with a leftist background but whose coalition government has been in-acting pro-austerity policies. In the local context you could compare Rousseff to Gerry Adams or the current leadership of the ANC, someone who in the distant past was a Marxist guerrilla fighter when the country was under a corrupt anti-democratic junta in a state of civil war but in the intervening decades has made the long journey to parliamentary politics and eventual power through the normalisation of the political process and a series of increasingly extreme betrayals of their leftist principles and capitulations to neo-liberalist orthodoxy, while winning a few minor reforms.<br />
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/--IACf_8Zo-I/V8hGjxdNNNI/AAAAAAAAAQM/H7LH8X2Oa-IuIisXFBDcKmEoSvAywLhGwCLcB/s1600/dilma-rousseff-22.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://2.bp.blogspot.com/--IACf_8Zo-I/V8hGjxdNNNI/AAAAAAAAAQM/H7LH8X2Oa-IuIisXFBDcKmEoSvAywLhGwCLcB/s200/dilma-rousseff-22.jpg" width="148" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mug Shot from her Guerrilla days</td></tr>
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So basically she's gone from Ché to Tony Blair over the course of her career. But apparently that wasn't enough for the shower of bitter old bastards that make up the Brazillian ruling elite who have never forgiven her for being what she once was and have now mounted what is effectively a coup. These are the same old bastards that were behind the '64 coup, but this time they are using the judiciary and constitutional means rather than the army because an armed coup d'etat wouldn't fly these days.<br />
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And it looks like its going to be successful. It also shows up the limitations of reformism. The Workers Party was cobbled together out of a broad left alliance of the old militant left, Labourists and Trades Unions and were generally elected over the last 13 years on fairly innocuous social-democratic platforms and in power never really challenged the status quo or American imperialism in the region and were used as a wedge to beat down other more progressive genuinely leftist leaders in the global south. They never tried to mobilise the masses behind them, create a social revolutionary movement on the streets or do anything about shifting the power relations that constituted the old order.<br />
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Which goes to show, the various competing factions of the ruling class and their representative parties, left right and centre, they're all just spokes on a wheel, this ones on top, then that one's on top, and on and on it spins, generating profit for those on top and crushing those on the ground. Our aim should not be to stop the wheel (as the WP tried to do), but to break it.Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-26936648792861791622016-06-22T16:22:00.000-07:002019-03-09T15:29:47.480-08:00On the Eve of the EU referrendum<div class="separator" style="clear: both; text-align: center;">
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In 2014 when the Scottish referendum happened what could have been a typical politically empty, nationalistic / jingoistic (from both sides) shitty spectacle actually became something more than it was intended to be. The Scottish left and activist spectrum turned it into a real debate, one centered around Austerity and the real fight happening within contemporary society beyond the circus side-show that is political discourse in the UK.<br /><br /><br />This year we're voting on the UK's continued membership of the EU, and nothing of the sort has happened. The focus of the debate has been skewed from reality of what the EU is and what the member states will be facing in the near future to a lot of petty squabbling and wars of position for hegemony within the Tory party being presented as the breath of the debate. The British left has shown no leadership in terms of getting the word out that, and I know this may surprise a lot of people, there are actually plenty of good reasons for wanting to leave the EU and that you don't have to be a slathering xenophobe to want out. and actually a lot of the arguments for staying are on extremely shaky foundations. The Left-Exit argument has been so marginalised and the Leave position so thoroughly dominated by the right that I am genuinely embarrassed to be voting to leave tomorrow, though that isn't actually going to stop me - it just pisses me off.<br /><br /><br />I can see that there are plenty of arguments for voting to remain, from the personal fear of what might happen with regards to their pensions, because they do benefit from the EU's internal migration policy, out of spite at the loyalist thugs merrily shouting 'vote leave' as they beat up random people they presume to be catholics (this is literally what happened to people I know) - the fear of a resurgent right capitalising on a Brexit vote is a legitimate one The EU at least recognises Palestine and is its biggest provider of international aid and is at least critical of Israel, though that aid is channeled through the PA and is in no small part responsible for the maintenance of the corrupt PLO leadership over the PA and consequently the continuing divisions within the movement. There's a certain validity to the argument that the EU has provided an amelioration of the excesses of the British political establishment, consensus politics in Europe does tack slightly to the Left of consensus politics in the UK (though even with the Human Rights Act, it didn't stop Section 28, or what what was going on over here during the Troubles). They're right that the Exit camp haven't really put forwards a viable or inspiring vision for an alternative outside the EU, they're right, that would have been the job of the British organised left and they fucked that one up. I honestly wouldn't think less of anyone who voted to stay in tomorrow.<br /><br /><br />Personally though I can't justify it to myself. I can't not think of Alan Kurdi, and all the other people murdered by the EU's immigration policies. I look at Greece and see the Troika doing to the Greeks what the English did to us during the Great Potato Blight of the 1840s, killing people with the ruthless application of Free market economics to ineptly fix a problem created by free market. Seriously, what they've done in Greece is disgusting, its imperialism pure and simple and I've no wish to be a part of it. That hasn't quite gone down here but at some point should we ever attempt to break in earnest with austerity, it will.<br /><br /><br />You can say that my position with regards to Brexit is abstract or idealistic but I don't see reforming the EU from within as a viable option, Syriza tried that one and got kurb-stomped for their efforts.<br /><br /><br />So, stay / go, either way its not a great choice and either way the real fights are still to be had. It didn't have to be like this, it could have been a party. Again getting back to my initial point in this post, looking at the way the debate around the Scottish referendum went I can't help but think of how different it might have been. Anyway, in spite of the class-baiting scare mongering in the popular press, its been a foregone conclusion since the start, we're definitely not leaving the EU, the vote will go to the Stay option, though probably by a slimmer margin than expected at the outset of the campaign. None of this bodes particularly well for the future.Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-50796752583272933972016-04-24T05:46:00.000-07:002016-04-24T05:48:01.825-07:00Bodies in Revolt: Embodied discourses and the experience of bodies in the Easter Rising of 1916<i>This is a paper I wrote nearly ten years ago for one of the modules on my MA in Cultural History at the University of Essex. In retrospect it is an amalgam of the fairly advanced and theoretical Po-Mo academic culture in UoE and the more straight forward empiricist approach of the Queens University Belfast history department. For the uninitiated, what I casually refer to here as Body History is just basically the academic concept of the human body as a historical subject, rather than say, more amorphous things like the history of a nation, a movement or looking at an individual through their physical experience of the world around them rather than their writings, which would be the typical historians approach. I present it here on the 100th anniversary of the Rising with a few pictures added.</i><br />
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<span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">I<o:p></o:p></span></h1>
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<span lang="EN-US">One of the advantages of the recent
development of body history is that it can throw into sharp relief a period of
history or event that is quite well known and studied, but not well
understood. As </span><span lang="EN-GB">Dorinda
Outram says in her introduction to her monograph on Bodies in the French
Revolution, <o:p></o:p></span></div>
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<span lang="EN-GB"> “Like a prism, the body has a unique
capacity to concentrate together in the same space…(I)ntentionality and <i>episteme</i> come together and objective
subjective experience can be assessed as something other than simply a
personalised anarchy.”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">[1]<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-4XfERTxCmZc/Vxy8ng_C58I/AAAAAAAAAO4/Z8vgtUZRcoE0oV24M9cUbjSCASi6uDQvQCLcB/s1600/body.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://1.bp.blogspot.com/-4XfERTxCmZc/Vxy8ng_C58I/AAAAAAAAAO4/Z8vgtUZRcoE0oV24M9cUbjSCASi6uDQvQCLcB/s400/body.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">https://www.pinterest.com/pin/344243965238518340/</td></tr>
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<span lang="EN-US"> In this study what I am attempting to do is to
examine the Easter Rising of 1916 through an analysis of the body in the
discourse around the Rising in its immediate aftermath and much later and the
bodily experience of those who participated in it in order to see how this
analytical technique can better help us understand the complexities of the
events in that week in Dublin, their relation to events elsewhere and their
place in history.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Even by the standards of Irish history, the
Easter Rising of 1916 was an unusual and problematic incident. By turns tragic, comic, heroic, romantic and
farcical, it nonetheless remains one of the key events in Irish history. Organised and instigated by a conspiracy
within a secret revolutionary organisation within a larger paramilitary
movement, doomed to failure from nearly the start, and defying any logic of
conventional revolutionary or military tactics, it nonetheless succeeded in
changing the orientation of Irish history.
In taking the tool of the body-as-sociological-method from Foucault’s
conceptual tool-box and applying it to the Easter Rising, much of what traditional
political and military historians of the rising have found hard to comprehend
becomes much clearer, particularly when viewed within the context of the bodily
experience of the Great War.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The contribution of an analysis based on body
history immediately does three things.
Firstly, implicit in the notion of a social order being based on the
restriction of bodies<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[2]</span></span><!--[endif]--></span></a>
is the notion of what happens when the social order is broken, i.e. when the
bodies are in revolt. Secondly it brings
into focus the use of body imagery in the discourse around the rising in both
the propaganda for the rising<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[3]</span></span><!--[endif]--></span></a>
and the use of the rising by various parties and movements in Ireland
subsequently. Finally by looking at the
body in the Easter Rising the lived experience of participating in and being
around the rising is brought to prominence.
In this survey I’ll be looking at some of the subsequent events in Irish
history, as well as some recollections of the rising and reflections on the
rising in literature and poetry.<o:p></o:p></span></div>
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<span lang="EN-US">II<o:p></o:p></span></h3>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">To begin with however, it is important to frame
the Easter rising within the correct historical contexts. The most important of these, is the Great
War. This provides the opportunity and
the justification for the Rising to take place.
As much as the Ulster Crisis, which occurred around the Third Home Rule
bill in 1912, had led to a pronounced millitarisation and radicalisation among
the Unionist, Irish Nationalist and a section of the Trade unionist/Socialist
political currents in Ireland before the war began, without the war it is
unlikely that the crisis would have taken the particular form it did. The war also provides an episteme of
conflict, which informed the discourse around the insurrection and the actions
and practice of the insurrectionists throughout the rising. Another major effect of the war on the Rising
was demographic. Because of the war,
emigration was impossible for the large numbers of young men who would normally
have left Ireland in this period. These
surplus (and predominately male) bodies and the unvented male energy were to
have a profound effect on the period<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[4]</span></span><!--[endif]--></span></a>.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Another important context of the rising is its
place in the tricky historical relationship between Britain and Ireland. Hitherto in the British imagination, Ireland was
considered as an integrated part of the United Kingdom of Great Britain and
Ireland<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[5]</span></span><!--[endif]--></span></a>
– commonly embodied, for example in the pages of Punch magazine, as Britannia’s
younger (and feebler) sister. The rising
was the beginning of a process, combined with the electoral victory in 1918 of
those who were either participants in, mistakenly associated with<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[6]</span></span><!--[endif]--></span></a>
or at least supportive of the rising, that marked a fundamental shift in that
assumption. <o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-4LVwm-AZKrA/Vxy8_eruBVI/AAAAAAAAAO8/zNqtdobFh_8LxewliK0MRA_rwUzrQuZ7ACLcB/s1600/punch.png" imageanchor="1"><img border="0" height="210" src="https://2.bp.blogspot.com/-4LVwm-AZKrA/Vxy8_eruBVI/AAAAAAAAAO8/zNqtdobFh_8LxewliK0MRA_rwUzrQuZ7ACLcB/s400/punch.png" width="400" /></a></div>
<br />
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Concurrently in Ireland since the Gaelic
revival of the Fin De Siecle, Irish writers and cultural nationalists had come
to assert a national identity in the form of the Shan Bhan Bocht – the Poor old
woman, also referred to as Cathleen Ni Houlihan. This feminised and maternalised national
figure would provide ample resource for the nationalist propagandists and
polemicists. This worked to create an
image of Ireland as the Mother, a figure that had to be protected and which had
authority over you and to which you owed your existence<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[7]</span></span><!--[endif]--></span></a>. In the writings of the insurgents, Ireland is
unfailingly charcterised as female. The
most famous and striking example of this, the fabled Declaration of the Irish
Republic, begins thus;<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“</span><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">IRISHMEN AND
IRISHWOMEN: In the name of God and of the dead generations from which <u>she</u>
receives <u>her</u> old tradition of nationhood, Ireland, through us, summons <u>her
children</u> to <u>her</u> flag and strikes for <u>her</u> freedom.</span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[8]</span></span><!--[endif]--></span></a>(my
emphasis)<o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The theme is also present in the writings on
non-republicans. One recalls for
instance James Joyce’s famous description of Ireland as <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“The
old sow that eats her farrow”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[9]</span></span><!--[endif]--></span></a>.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Another important context in which to consider
the rising is the revolutionary tradition.
There is a tendency to place Irelands’ revolutionary tradition as
outside of European revolutionary currents, particularly among popular
histories<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[10]</span></span><!--[endif]--></span></a>,
on the grounds that Irelands’ unique geographical location and its peculiarity
rules this out. A cursory examination of
the dates of the main revolutionary upheavals prior to 1916 (1798, 1802, 1848,
1867) tells another story as each comes at a time of continent-wide
revolutionary turmoil. Furthermore, the
influence of the revolutionary tradition on the rhetoric of the insurgents is
also evident, and particularly, though not exclusively, in the general
revolutionary mentality concerning bodies and bodied metaphors. For example,
James Connolly’s <i>Workers Republic</i>
editorial of the 5<sup>th</sup> of February 1916, which ends with,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“…of
us…it can truly be said, ‘without the shedding of blood there is no
redemption’.”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[11]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">is usually cited by historians as evidence of
Connolly’s descent from more internationalist concerns to quasi-religious
messianism, and generally falling under the influence of Pearse<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[12]</span></span><!--[endif]--></span></a>. While this may be true, we should also
acknowledge that it also and certainly deliberately echoes the words of the old
Communard Meillet, <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“without
the shedding of blood there is no social salvation”.<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[13]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<h2>
<span lang="EN-US">III<o:p></o:p></span></h2>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-d_EhDtvaaOU/Vxy9ULhbpJI/AAAAAAAAAPE/EBt5gEkTK8wjJpw7r8adNznFnc0fUvNtQCLcB/s1600/Patrick_Pearse.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="270" src="https://1.bp.blogspot.com/-d_EhDtvaaOU/Vxy9ULhbpJI/AAAAAAAAAPE/EBt5gEkTK8wjJpw7r8adNznFnc0fUvNtQCLcB/s320/Patrick_Pearse.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Padraig Pearse</td></tr>
</tbody></table>
</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">So, what was the Easter rising and how did it
come about? The first important thing to
understand is how it was both like and unlike the revolts and revolutions in
the following years, i.e. Russia’s February Revolution and the various revolts
across Germany and the rest of Europe in the aftermath of the war. Nor did the Easter rising occur because of
pronounced economic distress (at least not relative to the usual level of Early
20<sup>th</sup> century Dublin). Neither
did it arise directly out of class struggle, as in the Bolshevik
Revolution. The insurgency happened
because of the apparent impending success of the moderate nationalists of the
IPP who had gotten the Home Rule bill on the statute books in 1914 just prior
to the war. This home rule bill would
grant Ireland a degree of sovereignty and a parliament in Dublin, but
crucially, would maintain the historic link between Britain and Ireland. To cultural nationalists like Pearse this was
unthinkable. To Pearse, this was an offense against the notion of Ireland as an
embodied entity. In Ghosts, his pamphlet
of Christmas 1915, he says that <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“(</span><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">t)hey have made the
same mistake that a man would make if he were to forget that he has an immortal
soul”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[14]</span></span><!--[endif]--></span></a>.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">To Pearse the sin of the IPP was denying the spiritual side of the
Cartesian dualism of the nation<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[15]</span></span><!--[endif]--></span></a>. The way in which the IPP are characterised in
the pamphlet is again tied in to bodily metaphors, this time about their
manhood;<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">“One finds oneself wondering
what sin these men have been guilty of that so great a shame should come upon
them. Is it that they are punished with loss of manhood because in their youth
they committed a crime against manhood?...”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[16]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">For Pearse, they have not been to make the correct analysis and have
been too timid to carry out the true wishes of the Irish people by severing the
link with Britain because having betrayed a <i>real<b> </b></i>man like Charles Stewart Parnell<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[17]</span></span><!--[endif]--></span></a>
they have been robbed of their own manliness.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Pearse opposes this in two ways.
Whereas the IPP were selling the nation short because of their
pre-occupation with practicalities, he would snub the compromising
real-politick of the IPP in favour of actions of symbolic import. Indeed he makes a virtue of his own
impracticality, for example in the poem “The Fool”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[18]</span></span><!--[endif]--></span></a>
(characteristically written in the first person with himself as the main
protagonist) where the fools insistence on squandering years in attempting
impossible things, <o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">“deeming them alone worth
doing”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[19]</span></span><!--[endif]--></span></a>,<o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">is presented as heroic in contrast with the “wise men”, who, unlike
him, for all their wisdom cannot intuitively grasp the power of dreams.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">The other basis that Pearse puts forward for his opposition to the IPP
is to invoke the revolutionary tradition in Irish nationalism that seeks to
fully sever the tie with Britain by way of physical force. It is this component of Pearse’s platform in
which we find his richest and most consistent use of body symbolism. This can also be subdivided into two areas.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Firstly, there is the classic romantic revolutionary notion of the
revolutionary as the embodiment of the people.
Pearse’s poem, “The Rebel”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[20]</span></span><!--[endif]--></span></a>
is a classic example of this. The whole
2/3rds of it is mainly just a series of images re-iterating this over again in
intense, emotive language.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm; text-indent: 36.0pt;">
<span lang="EN-GB">“<i>I am come of the seed of the people, the
people that sorrow</i>”<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">“<i>My mother bore me in bondage, in bondage my mother was born, <br />
I am of the blood of serfs; <br />
The children with whom I have played, the men and women with whom I have eaten</i>,”
<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"> “<i>I am flesh of the flesh of these lowly, I am
bone of their bone</i>”<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">The poem was written shortly before the rising at a time when the plans
for the insurgency were well under way.
It feels like it would have taken about as long to write as to read and
is as good an example of the mentality of anyone who takes up arms on behalf of
an oppressed people, whatever time, place or for whatever political or
religious cause, as you are ever likely to find. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Interspersed with the theme of embodiment in the poem are the bodily
sufferings of “The People”, that,<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">“<i>Have had masters over them, have been under the lash of masters, … <br />
The hands that have touched mine, the dear hands whose touch is familiar to me,
<br />
Have worn shameful manacles, have been bitten at the wrist by manacles, <br />
Have grown hard with the manacles and the task-work of strangers</i>, ”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">While the Poet justifies his actions through his empathy with “The
People” in their suffering.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">“<i>And because I am of the people, I understand the people, <br />
I am sorrowful with their sorrow, I am hungry with their desire: <br />
My heart has been heavy with the grief of mothers, <br />
My eyes have been wet with the tears of children,</i> <br />
<i>I have yearned with old wistful men, <br />
And laughed or cursed with young men; <br />
Their shame is my shame, and I have reddened for it, <br />
Reddened for that they have served, they who should be free, <br />
Reddened for that they have gone in want, while others have been full, <br />
Reddened for that they have walked in fear of lawyers and of their jailors</i>”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<i><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><br />
“I could have borne stripes on my body rather than this shame of my people</span></i><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Secondly and in conjunction with this, is the way in which Pearse
invokes the revolutionary tradition by invoking the bodies of the dead
generations of revolutionaries.</span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">It is no accident that some of the most famous
words spoken by Pearse were from his oratory at the graveside of the old Fenian
Jeremiah O’Donovan Rossa, where he said, <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">“…the fools, the fools, the
fools! - they have left us our Fenian dead - And while Ireland holds these
graves, Ireland unfree shall never be at peace</span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">.”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[21]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In the pamphlet Ghosts he identifies the
dialectic in Irish politics between the moderate, constitutionalist position,
with which he equates the IPP, and the revolutionary traditions that always
seem to occur as a counter to them<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn22" name="_ftnref22" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[22]</span></span><!--[endif]--></span></a>. In this, “Separatist”, tradition he puts the
Irish Volunteers, who will be the organisation through which he will mount the
rising and the intended audience of the pamphlet. To persuade them of this<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn23" name="_ftnref23" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[23]</span></span><!--[endif]--></span></a>
he invokes all the dead generations of men who have opposed British rule in
Ireland from the Gaelic princes who fought off the Anglo Normans through the
Irish and Old English lords who fought the second wave of colonisation in the
Tudor and Stuart eras, the secret societies of the 18<sup>th</sup> century and
the Republicans from the 1790s on.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The solution to the problem Pearse presents us
with is to have a rising in order to reinvigorate the separatist tradition -
after what was by that time a hiatus from the political mainstream of nearly
five decades - is also bodied. The
imagery he used is that of rebirth through a blood sacrifice. In Peace and the Gael Pearse writes
approvingly of the war and its effects;<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="font-size: 12pt;">“</span><span lang="EN-GB" style="font-size: 12pt;">The last sixteen months have been the most glorious in the
history of Europe. Heroism has come back to the earth….<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">…It is good for the world that such things should be done. The cold
heart of the earth needed to be warmed with the red wine of the battlefield. </span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">and readily applies this logic to Ireland<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn24" name="_ftnref24" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[24]</span></span><!--[endif]--></span></a>,
where he hopes that <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“(</span><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Ireland) must
welcome it as she would welcome the Angel of God</span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">”.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">One final point about Pearse’s language of
rebirth is its Christian nature. Pearse,
himself a devoted Catholic<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn25" name="_ftnref25" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[25]</span></span><!--[endif]--></span></a>,
foreshadowed the liberation theologians in identifying the suffering of “The
People”, with the sufferings of Jesus Christ, whose naked suffering body in
virtually all of Pearse’s poetry and political writings. The greatest significance of this for Irish
history was that the Rising was timed for Easter Sunday, the day Christ
symbolically arises from death<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn26" name="_ftnref26" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[26]</span></span><!--[endif]--></span></a>. It is also clear from Pearse’s recurring use
of the imagery relating to Christ that while Pearse did believe in the
necessity of bloodshed and used the imagery of blood a great deal in his
political and literary output, he was different to others who have used similar
imagery<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn27" name="_ftnref27" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[27]</span></span><!--[endif]--></span></a>,
as unlike them it was always his own blood he was referring to rather than
anyone else’s.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span lang="EN-US">IV<o:p></o:p></span></h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In understanding the bodily experience of the
Easter rising as a revolution, we can adapt Bryan Turner’s model of the social
order as based on the restriction of bodies - through their capacity to
reproduce, the restraint of their appetites, the regulation of their movement
in space and their representation<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn28" name="_ftnref28" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[28]</span></span><!--[endif]--></span></a>-
as a conceptual framework in which to operate.
When we consider that in a revolution the social order is inverted, and
the measure of a revolutionaries success is the extent to which the social
order is inverted with the eventual aim of replacing it (or doing away with it
altogether) then by inverting Turner’s categories we have a sociological model
of what bodies actually do, or attempt to do in a revolution.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-7Q42UfR-8NU/Vxy-r2umLeI/AAAAAAAAAPY/hR0U_0dsPnUGmgiT_gQbFXFHzYvP0UCPwCLcB/s1600/rising.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="177" src="https://3.bp.blogspot.com/-7Q42UfR-8NU/Vxy-r2umLeI/AAAAAAAAAPY/hR0U_0dsPnUGmgiT_gQbFXFHzYvP0UCPwCLcB/s400/rising.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">ICA Volunteers on the rooftops in Dublin</td></tr>
</tbody></table>
</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The first category of Turner’s model,
reproduction, is challenged and inverted in revolutions through the institution
through which it is most commonly maintained, i.e. the female body. In revolutions the division of labour and the
traditional gender roles tend to be challenged, if not on occasion entirely
reversed. Women have been at the
forefront of revolutions from France in 1789 to the events in Bolivia earlier
this year. Indeed revolutionary periods
tend to coincide with the high-tide mark of women’s participation in politics
and women’s rights.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div style="text-align: left;">
</div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">During the Easter Rising there was a
paramilitary organisation of women, Cumman na mBan<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn29" name="_ftnref29" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[29]</span></span><!--[endif]--></span></a>
who participated in the insurgency.
Although their role was primarily the traditional female one of
providing support and nourishment for the troops in the form of field they
played an active role in the fighting under dangerous circumstances, running
field hospitals, reloading rifles, ‘spotting’ for snipers, dispatch,
“requisitioning” provisions (sometimes at gun point) etc<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn30" name="_ftnref30" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[30]</span></span><!--[endif]--></span></a>. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In addition, a significant proportion of the
women who participated in the rising were not in Cumman na mBan but were
members of the Irish Citizen Army which excepted women on an equal basis with
the men. Women in that organisation
fully participated in the rising. At
least one of the women who was involved in the insurgency and several others
who may have been innocent bystanders are known to have been killed in the
fighting. Also, of course, was the
famous role played in the rising by the “Red Countess”, Constance Gore-Booth,
the Countess Markievicz. She was a member
of the Irish Citizens Army and the Irish Volunteers and commanded the
insurgents on St Stephens Green, and had the second highest rank of those who
survived the rising<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn31" name="_ftnref31" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[31]</span></span><!--[endif]--></span></a>.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In the second of Turners categories, i.e.
policing the bodies appetites, the inversion of this has less to do with the
action of the revolutionaries than the response of the people who live through
a revolution and usually expresses itself in the looting of shops, off
licenses, public houses and other premises where alcohol and food are
available. In Ruth Dudley Edward’s
detailed biography of Pearse she details such incidents going on in front of
the Rebel HQ at the Dublin General Post Office<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn32" name="_ftnref32" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[32]</span></span><!--[endif]--></span></a>,
much to the consternation of the rebel leaders.
Indeed few historians accounts of the rising neglect to mention the
working people of Dublin being generally more interested in “epic feats of
looting in the damaged Dublin shops”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn33" name="_ftnref33" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[33]</span></span><!--[endif]--></span></a>
than actually joining in with the rising.
That the insurgents themselves didn’t loot, and indeed were generally
respectful of the property seized, issuing IOUs for any food seized, in the
uprising, this is probably indicative of the unpopularity of the uprising and
the smallness of the numbers.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The looting is also emblematic of the breakdown
of the next of Turner’s social order model (and indicative that we should not
view the categories as discreet, but rather assume mutually supportive
interaction between them). This category
is also the most conspicuously revolutionary and it is the infringement of this
that generally characterises the action, and perceptions of the action of
bodies in a revolution. I am of course
referring to the restriction of bodies in space. Whether it be storming The Winter Palace,
manning the barricades or freeing prisoners from the Bastille, the momentous
events (at least of the beginnings) of revolution all occur around the
transgression of restricted space. It is
when the immaterial walls that demarcate the boundaries of allowed space come
down and the body becomes capable of going anywhere it is physically able to,
that you know something momentous has happened.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In the Easter Rising, this meant occupying and
fortifying buildings at various sites around Dublin. It meant rending portals in party walls with
7 lb. sledgehammers liberated from the Dublin Dockyards to turn whole streets
into bunkers as per James Connolly’s theories on urban warfare<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn34" name="_ftnref34" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[34]</span></span><!--[endif]--></span></a>. It also meant an assault on Dublin Castle,
the site of British rule in Ireland since the </span><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Plantagenates, on the
morning of the first day of the Rising</span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">. Although the Castle remained untaken by the
insurgents, due to their inability to believe that it could be taken as easily
as it appeared to have been, according to some accounts<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn35" name="_ftnref35" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[35]</span></span><!--[endif]--></span></a>,
few historians writing about the rising have missed the historical significance
this would have had had they been successful<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn36" name="_ftnref36" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[36]</span></span><!--[endif]--></span></a>.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Finally, the last category in Turners model, –
the representation of the body. In Turners
model this relates mainly to the clothes we put on our bodies and the social
significance of certain types of clothes.
An example of the most extreme examples of the transgression of the
prescribed dress codes would be the situationists in Post-Revolutionary Soviet
Russia who on occasion would jump naked onto the Petrograd public
transport. More generally, what happens
is that fashions in clothing and hair will shift towards the pre-Revolutionary
fashions of the classes and groups involved in the revolution or the ideologies
that inspired it. Examples of this in
history include the Irish Republicans of the 1790s-1800s adopting the ‘Cropped’
hair of the French ‘sans culottes’, or the Black Power groups of the
Afro-American Diaspora adopting more obviously ‘African’ hair such as
Dreadlocks or Afro-puffs and African clothing like dashikis.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-lqQp0E4w1iE/Vxy-5Mw8U8I/AAAAAAAAAPg/r6z2ZiE6pBIeTqFPqNGyhrujn-mzNVNmACKgB/s1600/constance-markievicz.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://3.bp.blogspot.com/-lqQp0E4w1iE/Vxy-5Mw8U8I/AAAAAAAAAPg/r6z2ZiE6pBIeTqFPqNGyhrujn-mzNVNmACKgB/s400/constance-markievicz.jpg" width="190" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Constance Gore-Booth, the Countess <br />Markievicz, Irish rebel and fashion icon</td></tr>
</tbody></table>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In the Easter Rising the way in which this
aspect of the social order was transgressed was in the use of military uniforms
by the insurgents. Although not
officially prescribed, the wearing of uniforms did have a profound psychological
effect on the rebels. In his autobiographies
the playwright Sean O’Casey<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn37" name="_ftnref37" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[37]</span></span><!--[endif]--></span></a>,
recalls seeing the ICA in their <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“new
Dark green uniforms…(the) dire sparkle of vanity lighting this little group.”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn38" name="_ftnref38" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[38]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The putting-on of uniform also had a particular
significance for the women participating in the rising. For the Cumman na mBan women in their
uniforms of skirts and tunics it ,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“signified
their Millitarism and femininity”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn39" name="_ftnref39" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[39]</span></span><!--[endif]--></span></a>,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">and for the ICA women wearing the same uniform
as the men signified their equality in defiance of social norms, indeed on of
the iconic images of the Rising is that of Countess Markievicz with pistol in
hand in full ICA uniform of jacket, trousers and knee length army boots.<o:p></o:p></span></div>
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<h2>
<span lang="EN-US">V<o:p></o:p></span></h2>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The exercise of the state power over the bodies
of those who oppose it would in the aftermath of the rising play an important
role in its eventual outcome. While the
rising hadn’t been greeted with the enthusiasm or support it’s leaders had
expected, the way in which they were disposed of would eventually do the job it
had been intended to do.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In the aftermath of the rising bodies become
contested grounds, both the physical bodes of the insurgents and the rhetorical
bodies they become. As the rising is put down, the physical form of the
insurgents become forfeit to the forces of order as it is re-imposed. During the arrest and internment of the
leaders of the rising, they found their bodies treated with casual brutality,
mainly by an Irish captain in the British army by the name of Lee-Wilson who
was charged with holding them while they were still being corralled in the open
immediately after the surrender. Among
the privations he was responsible for carrying out on the Prisoners were
ordering the prisoners to relieve themselves where they lay, taking away Sean
McDermott’s walking stick<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn40" name="_ftnref40" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[40]</span></span><!--[endif]--></span></a>
having the elderly fenian Tom Clarke stripped, ripping of the sling he was
wearing and re-opening the bullet wound in his arm<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn41" name="_ftnref41" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[41]</span></span><!--[endif]--></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The most extreme manifestation of the states’
control over the unruly bodies of the insurgents was of course the executions
of 16 of the Rising’s leaders and most prominent figures. These executions were to have a profound
effect on the public reaction to the rising.
Through consciously embodying the mythic tropes of militant separate
tradition, Pearse, as he had intended, created the conditions where,<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“Myth
and reality were themselves warring in the Irish mind”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn42" name="_ftnref42" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[42]</span></span><!--[endif]--></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Nor did it end with the executions. One of the leaders of the rising who had
survived the executions, Thomas Ashe, would die on hunger strike in the
Frongnoch prison in Wales through choking to death while being force-fed, the
first person to die in such a way in the 20<sup>th</sup> century. The imprisoned insurgents and the other
members of the Republican movement at home would also defy their confinement
through successfully running one of their number as a candidate in a
by-election in Longford.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">The indignation of a large proportion of the
Irish and British people at the physical treatment of the bodies of the
insurgents would eventually result in the electoral victory in Longford and the
eventual electoral victory of Sinn Fein in 1918. Indeed the bodily experiences of the
insurgents resonate right into the present.
In his account of the rising the nationalist historian Tim Pat Coogan
almost gleefully relates how Michael Collins would avenge the treatment of the
prisoners by tracking down and killing Captain Lee-Wilson during the Irish War
of Independence<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn43" name="_ftnref43" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[43]</span></span><!--[endif]--></span></a>. The imagery of the executions<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn44" name="_ftnref44" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[44]</span></span><!--[endif]--></span></a>,
is indelibly seared into Republican consciousness and the hunger strike would
be utilised by different shades of Republicans at various times for the next 65
years. The overall effect was to
recreate a cult of martyrdom around the leading figures in the rising that
would be exploited by the revived nationalist movement in the struggle for
independence, in the creation of the state that came out of the struggle and by
the dissident Republicans who opposed it.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">To those critical of the rising, both at the
time and subsequently, the bodies of the participants in the rising would
become, and indeed remain, contested.
For example, in the immediate aftermath of the Rising there was a
pronounced reaction to the transgression of the patriarchal sexual norms. Early press responses to the rising would
continually downplay the role of women in the rising, usually just by ignoring
them and in some reports claiming that male rebels would disguise themselves as
women<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn45" name="_ftnref45" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[45]</span></span><!--[endif]--></span></a>. The less easily dismissed figure of Countess
Makievicz, a woman in male uniform leading 120 men was used to, <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“…emphasise
the nonsense of the rising, denying it any legitimacy.”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn46" name="_ftnref46" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[46]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In Irish popular culture there has emerged an
iconoclasm as an antithesis to the popular nationalist sentiment regarding the
rising, particularly in opposition to the use of the rising by the state in
imposing its own social order. This
particular tradition begins with the socialist playwright Sean O’Casey writing
only a decade later. One of the series
of plays written about the revolutionary period in the early 20s, <i>The Plough and The Stars</i><a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn47" name="_ftnref47" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[47]</span></span><!--[endif]--></span></a>
being the first play written by an Irishman to depict the rising. This tradition continues through the rest of
the century right up until the present with two of the most popular and
critically acclaimed Irish books of recent years being purposefully
iconoclastic depictions of the events of the rising – <i>A Star Called Henry</i> by Roddy Doyle<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn48" name="_ftnref48" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[48]</span></span><!--[endif]--></span></a>
and <i>At Swim Two Boys</i> by Jamie O’Neil.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In these revisionist depictions of the rising,
one of the main themes is the problematic and sordid reality underneath the
glorious rhetoric of the rising.
Naturally this often comes out in the depiction of the physical bodies
of the participants. In his
Autobiographies, in the passage cited above, O’Casey goes on to describe James
Connolly in his new uniform, and gives particular attention to how he <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“didn’t
look well in it for he had a rather awkward carriage and bow legs…added to the
waddle in his walk”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn49" name="_ftnref49" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[49]</span></span><!--[endif]--></span></a>. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Pearses’ and squint his supposed vanity about
it is another recurring feature in this literature.<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn50" name="_ftnref50" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[50]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Also, in the wider context of the history of
revolutions and revolutionaries attacks on the physicality of revolutionaries
are not uncommon. In his survey of the
French Revolution the Marxist writer and broadcaster Mark Steel notes that most
of the leaders of the revolution were commonly described as ‘ugly’ by bourgeois
historians, often against the available evidence<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn51" name="_ftnref51" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[51]</span></span><!--[endif]--></span></a>,
though O’Casey and Doyle both oppose the Rising from the left.<o:p></o:p></span></div>
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<span lang="EN-US">VI<o:p></o:p></span></h2>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">So what, if anything, was the experience of
bodies in the Easter Rising?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">In relation to the body experience of the First
World War the Easter rising stands as both a reflection and counterpoint. Both reflect contemporary assumptions about
the nature of warfare. In what Robert
Kee had remarked on as the <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">“essentially
static nature of the rebel command’s psychology”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn52" name="_ftnref52" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[52]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">we see how the leaders of the insurgency were
unconsciously recreating the bodily experience of the western front. In this context the seemingly bizarre
decision to waste precious time constructing a trench in St Stephens green is
de-mystified. Also, some of the psychosexual
elements of the First World War are evident in the rising. For example there is a striking parallel
between the association of the exposure of the body to injury and sexual
exhibitionism suggested by some accounts of the war<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn53" name="_ftnref53" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[53]</span></span><!--[endif]--></span></a>
with the ending of Patrick Pearse’s play “The Singer”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn54" name="_ftnref54" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[54]</span></span><!--[endif]--></span></a>,
which was finished just before the rising, in which the main character strips
naked before heading off to fight “the Gall<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn55" name="_ftnref55" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[55]</span></span><!--[endif]--></span></a>”. Furthermore, in its radical nature the space
given to women to women to express their militarism and patriotism beyond the
norms of conventional warfare makes the experiences of women in Cumman na mBan
and the ICA stand out against that of women in and around the conventional
military forces.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">Ultimately, the Easter rising represents an
intersection between the physical bodies of the insurgents and the rhetorical
bodies of the Irish Republican tradition.
As we have seen, it was Pearse’s intention from the beginning for a
symbolic gesture to be made to revive the flagging separatist tradition by joining
it to the now. Pearse evoked the ghosts
of those who had almost passed from living memory. By creating the conditions of the physical
annihilation of their own bodies they were able to discorporate and so become
ghosts, reborn in symbolic bodies that would achieve in death what was
impossible in life, thus overcoming the physical constraints of their own
bodies. As the poet </span><span lang="EN-GB" style="font-size: 11.0pt; mso-bidi-font-size: 10.0pt;">Takahashi puts
it,<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">“…(after falling before the
firing squad) <i>Death<o:p></o:p></i></span></div>
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<i><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">stands
up in their stead each time,<o:p></o:p></span></i></div>
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<i><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">climbs
freely over the walls, <o:p></o:p></span></i></div>
<div style="margin-bottom: .0001pt; margin: 0cm; text-indent: 36.0pt;">
<i><span lang="EN-GB">roaming streets and villages <o:p></o:p></span></i></div>
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<i><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">like
bad news to inflame and<o:p></o:p></span></i></div>
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<i><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">inspire
their comrades-in-arms.”<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftn56" name="_ftnref56" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[56]</span></b></span><!--[endif]--></span></a></span></i><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">As much as either Pearse or Connolly would have
been appalled at the Ireland that came out of the revolutionary period, their
actions would shape Irish politics, society and culture for most of the next
century.</span></div>
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<b>Bibliography</b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;">(N.B.
Anything quoted from Pearse would have been written initially in Gaelic
and any quotations may have translations that are peculiar to the source, which
are the Garrity book for the poems and Rose Tempany-Pearse’s WebPage </span><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><a href="http://website.lineone.net/~pearsebaby/"><span style="font-size: 10.0pt;">http://website.lineone.net/~pearsebaby/</span></a><!--[if !supportNestedAnchors]--><a href="https://www.blogger.com/null" name="_Hlt121216876"></a><!--[endif]--></span><span lang="EN-US" style="font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-size: 10.0pt;"> for everything
else.)</span><span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Tim Pat Coogan, <i>1916: The Easter
Rising</i> (London: Pheonix, 2005)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Michael Cronin, <i>Romantic Ireland
revisited: sexuality, masculinity and nationalism in some recent Irish texts</i>
(Unpublished MA Thesis, University of Sussex, 2003 <a href="http://www.sussex.ac.uk/cssd/courses/michael's_diss.pdf"><span style="font-size: 10.0pt;">http://www.sussex.ac.uk/cssd/courses/michael's_diss.pdf</span></a>)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Roddy Doyle, <i>A Star Called Henry</i>
(London: Jonathan Cape, 1999)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Owen Dudley Edwards & Fergus Pyle (eds.) <i>1916 The Easter Rising</i> (London: McGibbon & Kee, 1968)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Ruth Dudley Edwards, <i>Patrick
Pearse: The Triumph of Failure</i> (Dublin: Poolbeg, 1990)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">R. Fitzroy Foster, <i>Modern Ireland
1600-1972</i> (London: Penguin, 1989)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Paul Fussell, <i>The Great War and
Modern Memory</i> (Oxford: OUP, 1977)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Devlin A Garrity (ed.), <i>The
Mentor Book of Irish Poetry</i> (New York: Mentor, 1965)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">C. Desmond Greaves, <i>The Life and
times of James Connolly</i> (London: Laurence and Wishart, 1972)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Alvin Jackson, <i>Ireland 1798-1998 </i>(Oxford:OUP,
1999)<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">James Joyce, <i>A Portrait of the
Artist as a Young Man</i> (London : Jonathan Cape, 1930)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">R. Kee, <i>The Green Flag; A History
of Irish Nationalism </i>(London: Weidenfeld and Nicolson, 1972)<i><o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Sean O’Casey, <i>Autobiographies I:
I Knock at The Door, Pictures In the Hallway, Drums Under the Windows</i>
(London: Macmillan & Co., 1963) <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Dorinda Outram, <i>The Body and the
French Revolution: Sex Class and Political Culture</i> (New Haven: YUP, 1989)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Annie Ryan, <i>Witnesses: Inside the
Easter Rising</i> (Dublin: Liberties Press, 2005)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Louise Ryan, ‘”Furies” and “Die-Hards” Women and Irish Republicanism in
the Early Twentieth Century’ <i>Gender and
History</i>, Vol.11 No.2, (July, 1999) pp256-275<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Mark Steel, <i>Vive La Revolution </i>(London:
Scribner, 2003)<i><o:p></o:p></i></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Mutsuo Takahashi, <i>Beyond the
hedge: new and selected poems</i>, translated by Frank Sewell and Mitsuko Ohno
(Dublin: Dedalus, 2006)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">Bryan S. Turner, <i>The Body and
Social Theory</i> (London: Blackwell, 1984)</span><span lang="EN-US"><o:p></o:p></span></div>
<br />
<div>
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<div id="ftn1">
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<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> D. Outram, <i>The Body and the
French Revolution: Sex Class and Political Culture </i>pp5<o:p></o:p></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> As in the work of Bryan Turner, which I’ll come to later.<o:p></o:p></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Particularly in the language used by Padraig Pearse in his various
public speeches, proclamations, publications and literary efforts.<o:p></o:p></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Indeed thanks to the work of historical geographers such as David
Fitzpatrick this is one of the few areas on which there is currently a
consensus opinion.<o:p></o:p></span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> In spite of the sometimes erroneousness of this supposition, as evidenced
by the events of the Irish Famine, the experience of Irish immigrants in
Britain and the ongoing popular support in Ireland for various forms of Irish
nationalism. <o:p></o:p></span></div>
</div>
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<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[6]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Specifically, Arthur Griffiths’ Sinn Fein. Although Sinn Fein was the political platform
on which the republicans stood after the Easter rising, Sinn Fein actually
played no part in the Easter rising.
What happened was that in the early witnesses and contemporary press
reports of the rising mistakenly referred to it as a Sinn Fein rising, Sinn
Fein being the largest group of Irish nationalists outside the Irish
Parliamentary Party.<o:p></o:p></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[7]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> The non-sexual connotations of this are interesting and worth
commenting on. After the demographic
changes wrought by the Famine, particularly after the shift from paritable inheritance
to non-paritable, for those who stayed on the Island the opportunity to marry
young was significantly reduced, compared to before the famine. The average age of marriage shot up as it
became incumbent on the individual to make a good match as the family farm
could no longer be subdivided between the children. In this sexually stultifying atmosphere, as
captured in the works of Joyce, Synge, Brian Friel, and poetry such as Patrick
Kavanaghs’ <i>The Great Hunger</i>, the most
significant female relationship a man tended to have right into adulthood was
with his mother.<o:p></o:p></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[8]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> P. Pearse and J. Connolly, <i>Declaration
of the Irish Republic</i> (<a href="http://website.lineone.net/~pearsebaby/POBLACHT.htm">http://website.lineone.net/~pearsebaby/POBLACHT.htm</a>)<o:p></o:p></span></div>
</div>
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<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[9]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> J. Joyce, <i>A Portrait of the
Artist as a Young Man <o:p></o:p></i></span></div>
<div class="MsoFootnoteText">
<span lang="EN-GB">(<a href="http://www.themodernword.com/joyce/joyce_quotes.html">http://www.themodernword.com/joyce/joyce_quotes.html</a>)<o:p></o:p></span></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[10]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> See for example the episode of Kenneth Clarke’s television series
Civilisation dealing with revolution and romanticism or the A.J.P. Taylor
television series and book Revolutionaries.<o:p></o:p></span></div>
</div>
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<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[11]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> C.D. Greaves, The life and times of James Connolly, pp396<o:p></o:p></span></div>
</div>
<div id="ftn12">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[12]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> R.F. Foster, Modern Ireland 1600-1972 pp479 – to give but one
example.<o:p></o:p></span></div>
</div>
<div id="ftn13">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[13]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> C.D. Greaves, The life and times of James Connolly, pp396<o:p></o:p></span></div>
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<div id="ftn14">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[14]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> P. Pearse, Ghosts (<a href="http://website.lineone.net/~pearsebaby/GHOSTs.htm">http://website.lineone.net/~pearsebaby/GHOSTs.htm</a>)<o:p></o:p></span></div>
</div>
<div id="ftn15">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[15]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Something he saw as intimately bound up with the Gaelic language
and culture.<o:p></o:p></span></div>
</div>
<div id="ftn16">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[16]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> P. Pearse, Ghosts (<a href="http://website.lineone.net/~pearsebaby/GHOSTs.htm">http://website.lineone.net/~pearsebaby/GHOSTs.htm</a>)
– The crime referred to in the passage is the betrayal of Charles Stewart
Parnell, who unsuccessfully attempted to pass the First Home Rule bill in 1887
and died four years later after being savagely turned on by many in his own
party after his long standing affair with the wife of one of his lieutenants
was made public. Many of those who were
active on savaging Parnell such as Tim Healy were, at the time of Ghosts being
written, leading figures in the Party.<o:p></o:p></span></div>
</div>
<div id="ftn17">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[17]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Who while he may have been as basically constitutional in his aims
as they were, had worked with the Irish people from the land agitators of the
Land Leauge in the Gaelic West of Ireland and the IRB, and has seen the Home
Rule issue as a means to the end of Irish freedom – or so Pearse belived.<o:p></o:p></span></div>
</div>
<div id="ftn18">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[18]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> D.A. Garrity The Mentor Book of Irish Poetry pp320-321<o:p></o:p></span></div>
</div>
<div id="ftn19">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[19]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> D.A. Garrity The Mentor Book of Irish Poetry pp320<o:p></o:p></span></div>
</div>
<div id="ftn20">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[20]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> D.A. Garrity The Mentor Book of Irish Poetry pp319-320<o:p></o:p></span></div>
</div>
<div id="ftn21">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[21]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> P. Pearse, O’Donavan Rossa: Graveside Panegyric (<a href="http://website.lineone.net/~pearsebaby/ROSSA2.htm">http://website.lineone.net/~pearsebaby/ROSSA2.htm</a>)<o:p></o:p></span></div>
</div>
<div id="ftn22">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[22]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> P. Pearse, Ghosts Ch. V (<a href="http://website.lineone.net/~pearsebaby/GHOSTs.htm">http://website.lineone.net/~pearsebaby/GHOSTs.htm</a>) Specifically, Grattans Parliament – Tone’s
United Irelanders, O’Connells Emancipationists – Thomas Davis’ Young Ireland.<o:p></o:p></span></div>
</div>
<div id="ftn23">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref23" name="_ftn23" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[23]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> They were after all intended to be used to defend the IPPs home
Rule policy.<o:p></o:p></span></div>
</div>
<div id="ftn24">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref24" name="_ftn24" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[24]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> P. Pearse, Peace and the Gael, (<a href="http://website.lineone.net/~pearsebaby/GAEL.htm)">http://website.lineone.net/~pearsebaby/GAEL.htm)</a>. It should be added that Pearse’s belief in the
glory of war wasn’t an acceptance of the logic of conquest but recognising the
transformative radicalising power of the war and is more analogous to Lenin’s
desire for the war to become a revolutionary war than the apologists for the
war itself, though some of the language used is closer to theirs in its
religiosity and nationalism.<o:p></o:p></span></div>
</div>
<div id="ftn25">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref25" name="_ftn25" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[25]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><span lang="EN-US">Though not
so devoted as to follow the actual rules of the Church with regards to
revolution or not to associate with noted atheists like James Connolly or
Anti-Clericists like the old Fenian Tom Clarke.</span><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn26">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref26" name="_ftn26" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[26]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Though in the event due to last minute complications in the shape
of Eoin MacNeil’s countermanding order, the rising ended up taking place on the
Monday.<o:p></o:p></span></div>
</div>
<div id="ftn27">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref27" name="_ftn27" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[27]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><span lang="EN-US">Such as
Enoch Powell for example.</span><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn28">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref28" name="_ftn28" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[28]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> B. Turner, The Body and society, (ch4, ‘Bodily Order’pp103-125)<o:p></o:p></span></div>
</div>
<div id="ftn29">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref29" name="_ftn29" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[29]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Translates as either “Organisation of Women” or “Women’s
Association”.<o:p></o:p></span></div>
</div>
<div id="ftn30">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref30" name="_ftn30" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[30]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> L. Ryan, ‘”Furies” and “Die-Hards” Women and Irish Republicanism in
the Early Twentieth Century’ pp258-9<o:p></o:p></span></div>
</div>
<div id="ftn31">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref31" name="_ftn31" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[31]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> The highest ranking survivor, was Commandant Eamon DeValera who was
not executed as he technically wasn’t a British subject having been born in
America. Originally sentenced to death
by the courts martial that tried the insurgents her sentence was later commuted
in view of her gender.<o:p></o:p></span></div>
</div>
<div id="ftn32">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref32" name="_ftn32" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[32]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> R. Dudley Edwards. Patrick Pearse: The Triumph of Failure pp285-6<o:p></o:p></span></div>
</div>
<div id="ftn33">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref33" name="_ftn33" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[33]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> R.F. Foster, Modern Ireland 1600-1972 pp482<o:p></o:p></span></div>
</div>
<div id="ftn34">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref34" name="_ftn34" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[34]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> A. Ryan, Witnesses: Inside the Easter Rising, pp109-110<o:p></o:p></span></div>
</div>
<div id="ftn35">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref35" name="_ftn35" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[35]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> E.G. In T. P. Coogan, 1916: The Easter Rising pp105<o:p></o:p></span></div>
</div>
<div id="ftn36">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref36" name="_ftn36" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[36]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Though according to the statement given by Frank Robbins, a veteran
of the rising, to the Irish Bureau of Military History some decades after the
rising it had never been the intent of the insurrectionaries to capture the
Castle, but to isolate it (A. Ryan, Witnesses: Inside the Easter Rising pp214),
whether this was an accurate description of what happened that morning or
whether he was replying to later criticism of the rising is unknown. What is known is that most of the guards who
should have been on duty at the time had slipped off to watch the Irish Grand
National (T. P. Coogan, 1916: The Easter Rising pp105).<o:p></o:p></span></div>
</div>
<div id="ftn37">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref37" name="_ftn37" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[37]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><span lang="EN-US">Who was the
general secretary of the ICA for a time but did not participate in the Rising.</span><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn38">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref38" name="_ftn38" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[38]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> S. O’Casey, Autobiographies Volume I pp647.<o:p></o:p></span></div>
</div>
<div id="ftn39">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref39" name="_ftn39" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[39]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> L. Ryan, ‘Furies’ and ‘Die-Hards’ Women and Irish Republicanism in
the Early Twentieth Century pp257<o:p></o:p></span></div>
</div>
<div id="ftn40">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref40" name="_ftn40" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[40]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Without which he couldn’t walk having been crippled by polio years
before the rising.<o:p></o:p></span></div>
</div>
<div id="ftn41">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref41" name="_ftn41" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[41]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> T. P. Coogan, 1916: The Easter Rising pp142<o:p></o:p></span></div>
</div>
<div id="ftn42">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref42" name="_ftn42" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[42]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> R. Kee, The Green Flag; A History of Irish Nationalism pp568<o:p></o:p></span></div>
</div>
<div id="ftn43">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref43" name="_ftn43" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[43]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> T. P. Coogan, 1916: The Easter Rising pp142, Interestingly id
describing Collins’ revenge he picks up and employs the reference to urination
from earlier in the paragraph. <o:p></o:p></span></div>
</div>
<div id="ftn44">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref44" name="_ftn44" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[44]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><span lang="EN-US">Particularly
that of James Connolly who had to be strapped into a chair to be executed
because of his injuries.</span><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn45">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref45" name="_ftn45" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[45]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> L. Ryan, ‘Furies’ and ‘Die-Hards’ Women and Irish Republicanism in
the Early Twentieth Century pp260<o:p></o:p></span></div>
</div>
<div id="ftn46">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref46" name="_ftn46" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[46]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> L. Ryan, ‘Furies’ and ‘Die-Hards’ Women and Irish Republicanism in
the Early Twentieth Century pp261<o:p></o:p></span></div>
</div>
<div id="ftn47">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref47" name="_ftn47" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[47]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> The Plough being the emblem of the ICA. The other plays in this sequence being ‘Juno
and the Paycock’ and ‘Shadow of a Gunman’.<o:p></o:p></span></div>
</div>
<div id="ftn48">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref48" name="_ftn48" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[48]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Whose first book “The Commitments” has been filmed by Alan Parker. <o:p></o:p></span></div>
</div>
<div id="ftn49">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref49" name="_ftn49" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[49]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> S. O’Casey, Autobiographies pp647<o:p></o:p></span></div>
</div>
<div id="ftn50">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref50" name="_ftn50" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[50]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> E.g. R. Doyle A Start Called Henry pp115<o:p></o:p></span></div>
</div>
<div id="ftn51">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref51" name="_ftn51" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[51]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> M. Steel, Vive La Revolution pp60 – he goes on to add that its
likely that if a revolution broke out in America led by Brad Pitt and Gwyneth
Paltrow, “in a hundred years time historians would write ‘Pitts frame jerked in
an ungainly fashion, his boulbous pot belly wobbling hypnotically with each
malevolent cry of Power to The People, while Paltrow’s straggly unkempt hair
hung menacingly across her piggy nose and obtrusive unaligned eyes’”.<o:p></o:p></span></div>
</div>
<div id="ftn52">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref52" name="_ftn52" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[52]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> R. Kee, The Green Flag; A History of Irish Nationalism pp572<o:p></o:p></span></div>
</div>
<div id="ftn53">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref53" name="_ftn53" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[53]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Paul Fussell, The Great War and Modern Memory pp271<o:p></o:p></span></div>
</div>
<div id="ftn54">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref54" name="_ftn54" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[54]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> P Pearse, The Singer (<a href="http://website.lineone.net/~pearsebaby/1Singer.htm">http://website.lineone.net/~pearsebaby/1Singer.htm</a>)<o:p></o:p></span></div>
</div>
<div id="ftn55">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref55" name="_ftn55" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[55]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Literally - foreigners<o:p></o:p></span></div>
</div>
<div id="ftn56">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Kohhna/Documents/old%20laptop%20files%20unsorted/MASA1Bodiesinstr1916.doc#_ftnref56" name="_ftn56" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "Times New Roman",serif; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[56]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Mutsuo Takahashi, ‘Visit to Kilmainham Jail’ in <i>Beyond the hedge: new and selected poems</i>,
(translated by Frank Sewell and Mitsuko Ohno)<o:p></o:p></span></div>
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Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-18409505096977213512016-01-13T12:31:00.000-08:002016-01-13T12:31:18.268-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-e8cxW-AlnW4/VpazqqSuipI/AAAAAAAAAOo/DpB_iRIFxCM/s1600/12553009_10153351735493499_4405341217192242638_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-e8cxW-AlnW4/VpazqqSuipI/AAAAAAAAAOo/DpB_iRIFxCM/s320/12553009_10153351735493499_4405341217192242638_n.jpg" width="320" /></a></div>
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<span style="background-color: black; color: #eeeeee;">I've seen this meme going around, and like no offense to anyone that has liked or shared the picture but I think theres some decidedly dodgy false equivalence here. I left some decidedly bitchy retorts on the comments thread of the original posting from Freakangel that I'd like to share, with some further thoughts:</span></div>
<div style="font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 21.4667px; margin-bottom: 6px; margin-top: 6px;">
<span style="background-color: black; color: #eeeeee;">"Well if you want to cherry pick you could stick the Nolans, Englebert Humperdict and Gary Glitter in the top part of that picture and then put Bjork, FKA Twigs and Kode9 in the bottom to make the opposite point. There's always good and bad music in any era."</span></div>
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<span style="background-color: black; color: #eeeeee;">...in response to people giving off about auto-tuning and how all popular music was good back in then:</span></div>
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<span style="background-color: black; color: #eeeeee;">"John Lennon used to dub and reverb the fuck out of his vocals on his solo work because he didn't like the sound of his voice on its own, and it worked in his favour but essentially we're talking about the same thing as auto-tuning. And, if you know anything about the history of popular music you'd know that since it began in earnest in the 1950s theres always been terrible cheese-y manufactured pop, which if you listen to it now it has a certain charm, the way that people listening to One Direction and Bieber in the 2060s will find that it has a certain charm too. You think only good music got airtime back in the day? Were you around, just look at the best selling artists of any decade, it is by no means the best stuff from that time period. Lets not forget that for every David Bowie there were dozens of epigones, and he managed to spawn them with each transformation, and he had his "questionable" periods too (the wilderness years between Space Oddity and Ziggy, Tin Machine some would argue the 90s Rave / Industrial inspired stuff but I like that stuff anyway so I'm not going to argue against it). Motorhead were always a deeply underground band, got little radio play and rarely charted, actually aside from that time The Ace of Spades was in an advert in the early 90s i don't think they ever top tenned, but I could be wrong. Don't tell me their shit was popular, it was always niche and underground, and all the better for it, there are fucking amazing underground niche music scenes all around you. So yeah, if you're only contact with music in the modern age is listening to radio 1 in work, then yes, you are in grim times, however there's so much good stuff around with ready access given to it by the internet I honestly don't believe that you've a right to complain. If you're not listening to sick new music all the time in this day and age you've no one to blame but yourself."</span></div>
<div style="font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 21.4667px; margin-bottom: 6px; margin-top: 6px;">
<span style="background-color: black; color: #eeeeee;">Technology wise we are living in sight of a potential golden age, production and distribution are being liberated from the traditional music industry, fucking good too, they are scum-bags and deserve to die. What would really create a serious golden age for music and musicians would be a sharp rise in the disposable income of the proletariat and lower middle classes, because historically thats when huge shifts in music and the beginnings of new forms of popular music have occurred. The more and more varied them amount of people with surplus income to spare the more funds normal people have available the more and varied the musical output of any era in terms of the social scenes that supports the artists would be. Also, get the fuck rid of copyright, all the great western electronic music traditions of the last 40 years have spun off from Jamaican soundsystem culture, one of the foundations of which was versioning and pinching other peoples tunes and riddims, as it was in the acoustic folk traditions for millennia before. Liberate sound itself and fuck copyright.</span></div>
<div style="display: inline; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 21.4667px; margin-top: 6px;">
<span style="background-color: black; color: #eeeeee;">So aye, lets celebrate the icons of the past and our beloved stars as they pass into history and particularly those like Lemmy and Bowie who kept it fucking real right to their last breath, but also, FUCK NOSTALGIA, there is no time but now.</span></div>
Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0tag:blogger.com,1999:blog-4491249042793173661.post-12487042788315524942015-05-11T15:49:00.001-07:002015-06-01T11:09:15.240-07:00Species 2015<div class="separator" style="clear: both; text-align: center;">
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<h3>
<span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">Well, another month
and another festival report. I’ll say straight off the bat that this is not
going to be an objective review or anything, Species is now particularly
special to me as it marks my first festival appearance DJing`(2nd + 3rd times
doing it live in front of an audience). I had tremendous fun preparing the sets
and got real buzz performing them.</span></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
This was the first Species, indeed the first weekend-long festival by and for the Goth /
Alternative subculture to be held in Ireland. Whitby, Infest etc. have been
running successfully in Britain for some time, WGT is largest and best known of
the various festivals of its type to run in Europe but up until now, in spite
of small and reasonably active scenes in various parts of the country, nobody
has attempted anything like this here. In the past the site has played host to
the Alien Vibrations festival as well as various private gigs and parties,
which have all run successfully and become fixtures of the scenes this events
cater to. The promoters Illiocht and Harriet are both Goths of the old school
and wanted to do something for their own subculture this time. Rather than just
a straight up gig or rave of the sort the site has seen in the past this was
meant to be an Arts Festival that would of course contain music as an important
component but also be a showcase for different types of Art work, performance
art, dance and poetry. As such I would say that it was a brave effort to do
something new for the scene in this part of the world. While not everything
went according to plan it was certainly fun to be a part of and observe and I
reckon that a good few lessons have been learned for the next one.</span></span></span></span></h3>
<h3>
<span style="background-color: black; color: white;"><br /></span><a href="http://2.bp.blogspot.com/-qLHzuwsG4Sk/VVEpfqnT65I/AAAAAAAAAMI/GYZk-eMPw7o/s1600/IMG_1265.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-weight: normal;"><span style="background-color: black; color: white; font-size: small;"><img border="0" height="320" src="http://2.bp.blogspot.com/-qLHzuwsG4Sk/VVEpfqnT65I/AAAAAAAAAMI/GYZk-eMPw7o/s320/IMG_1265.JPG" width="240" /></span></span></a><span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 21.2666664123535px;"><br /></span></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
Alright, before I get into it I’d like to get the few negatives out of the way
first. There’s two types of weather that you get at camping festivals, the type
you want and the type you definitely don’t want. The weekend of Species saw two
solid days of the sort that you definitely don’t want, in fact it was some of
the worst weather that the site had seen since the height of the winter.
Rain-storms overnight, drizzle when it wasn’t lashing, high winds that knocked
over the graffiti wall that had been erected for the festival and the Marquee
that was intended for the Gothic tea-party on the Saturday afternoon. I’ve seen
some bad festival weather in my time and this was up there with the worst. I
was staying in the performers cabin so I luckily didn’t have to get wet but
those camping were not so lucky and a lot of people left after the first night
and a good few people who had been intending to come down on the Saturday ended
up not coming. To be fair, it did give the extremely beautiful part of the
Irish countryside we were in a bleak Wuthring Heights-esque ambience
appropriate for a Gothic Arts festival, but picturesque though it was – that’s
not what you want at a camping festival.</span></span></span></span><a href="http://4.bp.blogspot.com/-Kb2IB3w_3h4/VVEqBzJBNWI/AAAAAAAAAMY/qLeI6RVtoE0/s1600/IMG_1338.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-weight: normal;"><span style="background-color: black; color: white; font-size: small;"><img border="0" height="200" src="http://4.bp.blogspot.com/-Kb2IB3w_3h4/VVEqBzJBNWI/AAAAAAAAAMY/qLeI6RVtoE0/s200/IMG_1338.JPG" width="150" /></span></span></a><span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><br /></span></span><span style="font-weight: normal;"><span style="font-size: small;"><br /></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
Aside from that the organises also had a bit of bad luck early on when
Facebook’s fascistic algorithms that decide whether people are using their real
names or not flagged the account of the co-organiser Harriet and decided that
her facebook handle was too flamboyantly Welsh to be that of a real person. So
aye, Facebook is essentially racist against the Welsh, either that or it thinks
they’re a mythical race like Tolkien’s Eldar or the Riddlers. The upshot of
this was that the events page which was in Harriet’s name ended up being shut
down on the eve of the event which no doubt cost the organisers a few punters.</span></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
The equipment on site was put fairly through its paces too. There were a few
issues with the decks and some of the other hardware, which led to the schedule
slipping a bit on the Saturday night. That said, Ambrose the sound-tech struggled
manfully with the various pieces of kit and kept everything pumping along
almost single handedly all weekend and any sound problems that came up got
resolved sharpish.</span></span></span></span><a href="http://2.bp.blogspot.com/-ng7poRcyOIA/VVEs98SavTI/AAAAAAAAAM8/8TQ7NklEmgQ/s1600/IMG_1252.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-weight: normal;"><span style="background-color: black; color: white; font-size: small;"><img border="0" height="300" src="http://2.bp.blogspot.com/-ng7poRcyOIA/VVEs98SavTI/AAAAAAAAAM8/8TQ7NklEmgQ/s400/IMG_1252.JPG" width="400" /></span></span></a><span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
So aside from what were essentially teething problems and things well beyond
the reasonable control of the organisers it was a pretty good weekend. The site itself was amazing. We were right up
in the mountains in Leitrim and the few times the weather cleared up you could
see for miles around you. The Great Hall of Illiocht - the converted barn that
serves as the main stage - had a new wooden interior to stop the bass rattling
the corrugated metal walls of the hall. Like rest of the site it was kitted out
with artwork and served as a showcase for the artwork of the co-organiser
Harriet as well as other local artists from amongst their crowd of friends such
as Belfast underground art-scene veteran Andy Brown. The rest of the site was
bedecked with wall paintings and objet d'art.</span></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif;"><span style="line-height: 15.95pt;">
Artwork was also provided by some of the attendees, aside from Harriet's
paintings and Sculpture about the site, walls and surfaces were made available
to artists to decorate for the </span><span style="line-height: 21.2666664123535px;">occasion</span><span style="line-height: 15.95pt;">.</span></span></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif;"><span style="line-height: 15.95pt;"><br /></span></span></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif;"><span style="line-height: 15.95pt;">
There was also a small market place from the </span><span style="line-height: 21.2666664123535px;">Saturday</span><span style="line-height: 15.95pt;"> afternoon </span><span style="line-height: 21.2666664123535px;">onward</span><span style="line-height: 15.95pt;"> with
prints, stickers and books featuring original art by Harriet, cupcakes, and
alternative clothing and apparel by Bella Muerte.</span></span></span></span></span><a href="http://1.bp.blogspot.com/-9a09iRQCY5A/VVEpvWq0gXI/AAAAAAAAAMQ/ZUeo6RflI8k/s1600/IMG_1333.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-weight: normal;"><span style="background-color: black; color: white; font-size: small;"><img border="0" height="240" src="http://1.bp.blogspot.com/-9a09iRQCY5A/VVEpvWq0gXI/AAAAAAAAAMQ/ZUeo6RflI8k/s320/IMG_1333.JPG" width="320" /></span></span></a><span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><br /></span></span><span style="font-weight: normal;"><span style="font-size: small;"><br /></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
The music was a mixture of the various branches of the broad church of musical
styles that come under the banner of Alternative. As such it was an eclectic
and enjoyable mix. It all started off suitably weird with the first act I saw
on the Friday, a Belfast based producer called Monty performing as <a href="https://soundcloud.com/monty_81">BendingWrongs</a>. The first thing I clocked as he was setting up was an Aphex Twin logo
on the back of the laptop he was performing off, which I immediately took as a
good sign. He played a set of industrial-y glitch IDM, all of which he’d
producer himself. I found it very enjoyable, I particularly liked the last
track which started with the vocals from Energy 106 classic Discoland that
descended into chopped breakbeats and acid bleeps.</span></span></span></span><a href="http://2.bp.blogspot.com/-jWsZfiAn0Co/VVEr0LmTOzI/AAAAAAAAAMo/WIFpzo7cDB4/s1600/IMG_1248.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-weight: normal;"><span style="background-color: black; color: white; font-size: small;"><img border="0" height="150" src="http://2.bp.blogspot.com/-jWsZfiAn0Co/VVEr0LmTOzI/AAAAAAAAAMo/WIFpzo7cDB4/s200/IMG_1248.JPG" width="200" /></span></span></a><span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><br /></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
After him was more original productions, this time from festival organiser
illiocht as his dark ambient / horror core musical project Kraven Brainz. That
was good fun, all spooky noisey sounds and horror samples (and a few Adventure
Time LSP ones in the last arrangement for the crack).</span></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
The next act I saw were <a href="https://sugarplumsuicide.bandcamp.com/">Sugarplum Suicide</a>. Apparently they had a few technical
issues at the beginning of their set with their laptop / drum machine. I didn’t
catch any of that and what I saw of them was great. </span></span></span></span><a href="http://3.bp.blogspot.com/-LPrV2TGBJY0/VVEsp9b_P5I/AAAAAAAAAM0/pMY9Xn8HXlM/s1600/IMG_1300.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-weight: normal;"><span style="background-color: black; color: white; font-size: small;"><img border="0" height="240" src="http://3.bp.blogspot.com/-LPrV2TGBJY0/VVEsp9b_P5I/AAAAAAAAAM0/pMY9Xn8HXlM/s320/IMG_1300.JPG" width="320" /></span></span></a><span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><br /></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
After was Venus de Vilo, Gothic singer songwriter. It was good fun like Amanda
Palmer doing cabaret on a sort of tongue in cheek horror-pops tip. the tunes
were quirky and amusing and she was very good at engaging the crowd. Would
definitely go see her again if she played Belfast, just sorry didn’t get any
better photos.</span></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
There were a series of DJs playing old school synth classics and some
club-industrial the ret of the night. One on the friday I particularly enjoyed
was Alex who played a lot of industrial dubstep and a couple of Igorrr tunes.
In terms of the DJing that was the highlight of the Friday for me. I didn’t
stay up too late to see any of the DJs who were on later as I had some work of
my own to do the next day.</span></span></span></span><a href="http://3.bp.blogspot.com/-LqMZuyhJo7E/VVEtyuwFaeI/AAAAAAAAANE/eTEVaKDLfnA/s1600/IMG_1257.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-weight: normal;"><span style="background-color: black; color: white; font-size: small;"><img border="0" height="240" src="http://3.bp.blogspot.com/-LqMZuyhJo7E/VVEtyuwFaeI/AAAAAAAAANE/eTEVaKDLfnA/s320/IMG_1257.JPG" width="320" /></span></span></a><span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><br /></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;">
Saturday was my day. I had two sets to perform, my 2nd and 3rd public
appearance DJing. Prior to the event after being booked I messaged Illiocht
through the events artists page on Facebook to ask what time they were thinking
of putting me on at, saying I could play a relatively chill / ambient set if I
was on early or a harder more rave one if I was on later on. Next thing the
first schedule goes up and I have two sets, one on the saturday afternoon and
another midnight Saturday night / Sunday morning. Well played.</span></span></span><br />
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I was actually in a little bit of a panic when I saw that at first because it
was like twice the amount of prep to do. In the event it actually worked out
well, I didn’t have time to meticulously plan every track progression and every
mix like the last time I’d played out on Halloween. I just about had time to
get together a collection of tunes that I wanted to play and I felt sounded
good together. Which was good because that's really what you ought to be doing,
and along with being able to beat match and read the mood of the room and play
accordingly, what the art if DJing actually is. I knew with each set how I
wanted to start, some tunes I’ve always wanted to hear through a proper sound
system and a notion of how I wanted to finish. I also had a good idea of what
to do with some of the harder tracks to mix out of and what would actually just
mix well enough with anything else.</span></span></span><br />
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<a href="http://1.bp.blogspot.com/-G2jDZnXmDeY/VVEvzA3k_BI/AAAAAAAAANQ/-cFxejz53kI/s1600/IMG_1345.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black; color: white;"><img border="0" height="240" src="http://1.bp.blogspot.com/-G2jDZnXmDeY/VVEvzA3k_BI/AAAAAAAAANQ/-cFxejz53kI/s320/IMG_1345.JPG" width="320" /></span></a></div>
<span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;"><br /></span></span></span><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;"><a href="https://www.mixcloud.com/conor-mcvarnock/live-at-species-2015-1st-set/">The early set at 3pm</a> in the afternoon was a selection of tracks I felt would be
appropriate for a civilised mid afternoon goth disco. I started with a little
of what I would call Urban Gothic. Urban Gothic isn’t a genre of music that
currently exists as such, Its just how I like to characterise a range of the
stuff that I like and like to play when given the chance. Its anything
fundamentally dark, moody and / or industrial thats also conspicuously based on
4/4 beats. It covers the darker more industrial ends of UK Bass music, some of
the slower and more sombre ends of breakcore (i.e. End.users more hip-hop tempo
stuff) and the breakbeat-y / Glitch / IDM music coming out of the industrial
scene from lables like Hymen, Tympanic Audio etc. So the set started with a
little of that (Ambient into industrial hip hop breaks into Gothic
vocal-dubstep into a really deep sub-y Scorn remix of Glory Box) and followed
into some 4/4 beats and kept it there. I played a few classics from some of the
pioneers of the genre, dropped an acid techno-y danceable remix of LFO’s Industrial
/ EBM track Tied Up as a small personal tribute to the legend that was Mark
Bell (sadly taken from us last year), some Gloomcore and some new stuff thats
only been out in the last couple of years. This all went down extremely well,
the crowd in the Great Hall that I could see were extremely appreciative and as
it wasn’t particularly windy at that point the music was carried all over the
festival so loads of people who weren’t actually there but did hear my set came
up to me after to tell me how much they enjoyed it.</span></span></span><br />
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Spurred on by this initial success I was well in the mood for my later set, but
that was hours away and I enjoyed catching some of the other stuff that was on
in the meantime.</span></span></span><span style="font-weight: normal;"><span style="font-family: 'Segoe UI', sans-serif; line-height: 15.95pt;"><span style="font-size: small;">
Deathness Injection were properly class. They do industrial noise off live
hardware while playing out a performance piece that is like a live Tool video.
Thats about the closest I can come to describing it, you can check out some of
their performances from their <a href="https://www.youtube.com/watch?v=i7Tr6Z-WEOQ">youtube</a> but they don’t quite do the live
experience justice.</span></span></span><br />
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</span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-9v3mZEoZi5g/VVEwSN3flyI/AAAAAAAAANg/hWxmOlg9s2s/s1600/IMG_1507.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="background-color: black; color: white;"><img border="0" height="240" src="http://1.bp.blogspot.com/-9v3mZEoZi5g/VVEwSN3flyI/AAAAAAAAANg/hWxmOlg9s2s/s320/IMG_1507.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: black; color: white;">Tragedy Vampires</span></td></tr>
</tbody></table>
<span style="background-color: black; color: white;"><span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">Also awesome but completely different were the gothic rock outfit Tragedy Vampires. They were great, tight musicians, the lead singer clearly loving being able to smoke on stage. I had a great time bouncing around to their harder punk-y numbers, they were also good crack after, hang out and spoke to me and my mates and give us some of their CDs. They’ll be playing the Distortion Project in Belfast next month along with some Psychobilly and horror-pop bands, if that sounds like your cup of tea it’ll be well worth checking out.</span></span><br />
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<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;"></span></span><br /><span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;"></span></span>
</span><a href="http://2.bp.blogspot.com/-yto4_JFegpM/VVExAf_IJNI/AAAAAAAAANw/DGU4CcolVPg/s1600/IMG_1629.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black; color: white;"><img border="0" height="320" src="http://2.bp.blogspot.com/-yto4_JFegpM/VVExAf_IJNI/AAAAAAAAANw/DGU4CcolVPg/s320/IMG_1629.JPG" width="240" /></span></a><span style="background-color: black; color: white;"><span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">It was at this point that hilarity ensued with the equipment, one of the decks malfunctioning and the proceeding were pushed forwards. Among those were the gorgeous Deby Discosue performing as DiScoSwitch who gave us an LED assisted dance routine to some dark industrial beats, which looked amazing.</span></span><br />
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<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">Ambrose aka DJ Flesh the sound tech followed with an all vinyl set of old school electronic Post-Punk and New Beat. It was great to have an all to rare opportunity to hear this stuff on a decent rig and he finished on Joy Divisions Disorder which is a long standing personal favourite of mine.</span></span><br />
<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;"><br /></span></span>
<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">After that it was time for my <a href="https://www.mixcloud.com/conor-mcvarnock/live-at-species-2015-2nd-set/">second set</a>.</span></span><br />
<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;"><br /></span></span>
<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">So having requested a late set if they wanted me to bring some heaviness and been given one I took that as leave to go for broke with my hardest stuff, which I did. I broke out a lot of powernoise tracks that I’ve personally been busting to hear over a rig since I started getting into that style of music, mixed it in with a lot of Industrial Techno, hardcore and breakcore. As with the last set I had a bit of an idea where I wanted to start but kept it loose enough and only decided the opening track going through the playlist I’d assembled about an hour before I went on. Appropriately enough since I was rocking one of his “Keep Industrial Weird” T Shirts it was a Caustic tune. Of the three times I’ve played live no this one was by far the most fun, I was able to get properly into it and I think that comes across in the recording. The very last track I actually threw in at random, the ending I had envisioned I came to a little ahead of time leaving me enough time for one more and it was just like ‘what do I want to hear, what could I just drop on here that would sound amazing?’</span></span><br />
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<span style="color: white; font-family: Segoe UI, sans-serif; font-size: small;"><a href="http://2.bp.blogspot.com/-nrrYY6kc-AY/VVEwy3QYu2I/AAAAAAAAANo/K7-ez7AoCyo/s1600/IMG_1588.JPG" imageanchor="1" style="background-color: black; clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-nrrYY6kc-AY/VVEwy3QYu2I/AAAAAAAAANo/K7-ez7AoCyo/s320/IMG_1588.JPG" width="240" /></a></span></div>
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<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">I was buzzing coming off stage, I felt like I’d one well and I got a lot of positive feedback from the people i spoke to after. One girl told me her brother is a hardcore producer and having a familiarity with both that and the industrial scene she had never heard anyone else mixing them together in the same set and really enjoyed it.</span></span><br />
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<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">It was quite late by the time I was finishing but the nice thing about small festivals in the middle of nowhere is the informality of the proceedings, a lad from Dublin DJ Annatar came on after me and played a set of aggro tech and club industrial, haven’t really been into that stuff for a while but i liked a lot of the tunes he was playing, that Neuroticfish “They’re Coming to Take Me Away Ha Ha!” cover is another long standing personal favourite and hearing it actually gave me second wind and enough energy to power through into the next morning.</span></span><br />
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<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">After that Ambrose had caught second wind and me and the last couple of people that were still knocking about at that time sat up and bopped about to him playing through some of the rest of his extensive vinyl collection into the wee hours.</span></span><br />
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<a href="http://3.bp.blogspot.com/-uX2X3KGzmKw/VVExOUHR0mI/AAAAAAAAAN4/NkLwNw3FIcc/s1600/IMG_1751.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black; color: white;"><img border="0" height="240" src="http://3.bp.blogspot.com/-uX2X3KGzmKw/VVExOUHR0mI/AAAAAAAAAN4/NkLwNw3FIcc/s320/IMG_1751.JPG" width="320" /></span></a></div>
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<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">My lift left early enough on the next morning and the event was only on until the Sunday afternoon so theres not much more to report. All I can say is that i had immense crack playing and enjoying the rest of the fun on offer. Illicit and Harriet have no illusions that this is going to mushroom into a Glastonbury or even much beyond the site capacity of a couple of hundred people but they will be doing it again next May bank holiday. I look forwards to this quite intimate arts festival for the goth community turning into a fixture of the Irish alternative scene and will be interested in seeing some of the plans for this one that had to be put aside due to the weather come to fruition and what it’ll be like after some of the lessons have been learned from this time around and teething issues have been ironed out. I’d recommend next years to anyone else in the scene who is interested in supporting something local and a bit different. It’s a great opportunity to touch base with the scene on the rest of the island, we have such a diverse alternative scene here with such an array of very talented people who’re a part of it but it’s also so fragmented that it’ll be good to have something to draw it all together and that this has the potential to be just that.</span></span><br />
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<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">So aye, Species 2015, amazing crack. Will be back next year, watch this space.</span></span><br />
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<span style="font-family: Segoe UI, sans-serif; font-size: small;"><span style="font-weight: normal; line-height: 21.2666664123535px;">(Net stop, Forbidden Fruit)</span></span><br />
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Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com1tag:blogger.com,1999:blog-4491249042793173661.post-67050046818793191202015-03-24T02:16:00.001-07:002020-09-27T12:35:27.395-07:00Bangface 2015<br />
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This was meant to be a status update but it was so long it actually fucked up Facebook.</div>
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Good it'll fucking well tighten it the blue smarmy cunt.</div>
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Mash up de place!</div>
........</h2>
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<a href="http://www.bangface.com/events/bangface100/">BangFace 2015</a> - the awesomeness never stops, like literally 5-10 minutes after that last status update I'm standing in the queue to board my flight home to Belfast and I bumped into these Dutch guys I'd met knocking about on the sunday morning hanging out outside their chalet smoking and listening to Plaid on their way to get their flight. They were all happy to see me too. That morning we'd been chatting about music for ages and they seemed to really know their stuff. Somehow I appear to have given them the impression that I knew mine and just after I left them they had apparently been running around for ages looking for me to get my email or some other way of keeping in touch but had given up, so when they saw me in the airport on there way home from the festival they were properly buzzing to see me and actually get my email.<br />
<br />
They have it now and no doubt they'll be in touch with me soon. I met quite a good few sound interesting people over the course of the weeekend myself and took down details of their soundclouds, facebooks etc to check out when I got home to civilisation from the internetless black spot the Pontins resort was in and I've given myself a good bit of homework, some of which will make it to my feed over the next couple of days.<br />
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So aye, Bangface 2015, where to start? I had such a great one and so many people were part of it. I feel full of love for the world and greatfull towards everybody in it for just being there. Actually nah thats a pure spoof and some hippy bullshit, like c'mon I wasn't at a Psy festival FFS. No I actually feel full of love for Bangface, the rave and this years festival and full of love just for the very specific people that were part of it with me this year.<br />
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Well first off, big ups to the 290 Hard Crew Shane, Kevin and Ram for being such amazing chalet mates all weekend. Its great being around people that get the same buzz off relentless gabba that I do. I actually had prior to this Bangface only met any of these guys a couple of times, I remember Shane from the 2011 weekender but just had never been on each others social radar that often so we'd only bumped into each other a couple of times since. Kevin and Ram I know from knocking about the techno scene and ending up at the same house party on a few occaisions, most notably the time we all ended up together on Con Mc Allister's birthday after seeing Karenn in the Limelight. It was on that occaision that I discovered that, 1. they were good mates with Con and Mel, 2. they like Breakcore and Gabber, 3. Kevin could take an almighty Cornelius - patent slegging, all 3 of which I believe speaks highly of a persons character, which leads us to 4, that they had a Bangface chalet with a space they were looking to shift and were happy to take in 2 installments, which was great for me as I was unemployed and broke as balls at the time and wasn't likely to be able to shell out for a whole one any time soon, but I was still busting to go. As decisions go this turned out to be up there with my better ones and as inevitably happens at Bangface you form a hard bond with your chalet mates and I dare say we'll probably be all seing a lot more of each other in the future.<br />
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Next, a big we nah run dem to all my UK festival / partying family that made it to this one, Jazz, Ben Wall, Carolyn, the living legend that is Scottish Chris, Tommy Palmer, Cathal, Drew Davis and the rest of the Geordie crew from 303 (Ghettotech!) Efz whose crew played a blinder on the Saturday morning in the Queen Vic (more on which later). Like I may only see any of you guys IRL once or twice a year but its always a good one and its just good knowing yous are out there on the off chance one should ever have occasion to visit some strange foreign city across the sea, like Bristol or manchester or somewhere wierd and foreign like that with no veda loafs or Buckie. Neither of which affect me in anyway since I couldn't ingest them if I wanted to, but still - wierd.<br />
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Some extra-special love to the Manc-Irish ex pats and their mates, Jessica, who's been like near enough a member of the family since we were teenagers, Sarah, Samantha, Gary "Fucking" Sloan whose surprise entrance on the Saturday was one of the non musical highlights of the weekend and my boy Joe Griff - UTH ACAB. Need to get over to visit some time soon, one of them Relapse Manchester nights or something else suitably mental. (BTW, does Myles do Facebook? If so could someone please PM me his facebook and / or soundcloud or Myles if you're reading this now please add me).<br />
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Also, our lot, the Northern Irish hard crew, cause we are actually hardcore as fuck each and every one of us. There was way too many of us to name and I didn't get around to partying with or even just catching up with everybody I'd have liked to so please don't feel left out if you don't get tagged. Firstly, strong contender for the soundest person in the world and one of the best people you could ever go to a festival with: Chris Maginto and his piece of stuff the amazing Roisin. Ciara who did me an invaluable service on the Sunday morning (which I'll get to) and Tommy O'Rourke who gets the crack, dissonance is truth, angry distorted electronic noise is the sound of the real, and if it has breakbeats chopped up to fuck and you can dance to it is fucking amazing. And heavy metal is fucking sweet too.<br />
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Jane, absolute legend in her Bemo dress, actually one of the best things I saw all weekend, Jennifer who is a fucking good mate and someone I'll forever have a lot of time for. My top bitches Toni and Helen. My man Kyle Tek, on his first one, Matt - Bangface chalet Fam '2012 represent! And as with Myles 2 paragraphs up, if anyone knows if Pete Acid or/and his mate Yanos have facebook could they link or suggest friend me them or lads, if either of you are reading this yourselves, add me.<br />
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Love to Marty and Ceri's chalet and all who sail in her.<br />
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Nate and his crew, I hardly saw ye all weekend, totes not on purpose or anything.<br />
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Serious props too to Alex Fractal Vortex and Kathy you're stars the pair of you.<br />
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I know that theres lots of other people from home I'm missing but I'm tired and I still have a good bit to go, so if you're feeling left out comment below and you'll either get a sincere apology or slegged by me or someone else depending on how amusing you are.<br />
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Lastly a huge fucking stinking Ghettotech high five to my sister Catherine, who after all brought me to my first Bangface Weekender and has just been a cont, a cont, a cont, a cont, a continuing source of inspiration ever since (sorry, new laptop seems to have devloped a stutter, hopefully that'll work itself out). It is actually class having your sister as one of your best mates. That was another successful adventure for the McV children, bringing the gospel of Ghettotech to all sorts of Geordies and other random people. They fucking well know now what time it is (no, please don't start...).<br />
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<a href="http://4.bp.blogspot.com/-Ui3vF9eS0eo/VRFBtyU3IpI/AAAAAAAAALU/BeN9WNpIwRQ/s1600/bangface2015-300x185.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Ui3vF9eS0eo/VRFBtyU3IpI/AAAAAAAAALU/BeN9WNpIwRQ/s1600/bangface2015-300x185.jpg" /></a>Oh and one last one before I forget... bollocks I was actually about to tag Amy Flex there and try and get her to pass my contact details to Terry since I remember talking to him about exchanging email addresses and numbers so we can keep in touch since he's no longer on Facebook. Now I've found Amy has done hers in too, unless she's just changed her handle on here, in which case if anyone knows it please pass it on to me. But if anyone knows how to get in contact with Terry from Dundalk who used to be called Turry Jah Bless Four Eyes on Facebook and would like to do me a we favour, either PM me his or ask me for mine and pass it onto him for me. Same goes for Amy*.<br />
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So, adventures, "lovely" people and missions all round. But like this is sort of meant to be a music festival so I should probably try and talk about the music. No mean feat in this case since literally everything I saw was fucking amazing (so, no I didn't go to see Squarepusher finish in the main room :)). Serously the only remotely negative thing that I witnessed all weekend was during <a href="http://theteknoist.com/">The Teknoist</a>'s set in the Queen vic on Saturday there was some random technical issue that stopped one of his turntables working, but he handled it like a pro and there was just an akward couple of minutes while him and the sound tech sorted it out, then he dropped <a href="http://www.youtube.com/watch?v=LFzpwJrdbJw">Lion Girl</a> and it was all good.<br />
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So much good stuff, and I managed to spend most of my time down at the arenas so I ended up seeing loads, like I'd reckon I saw more stuff on any given day of this weekender than any of the other two combined. Funny that.<br />
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So much great music that cutting it down to a few highlights isn't possible so this next bit is going to be fairly long. You've been warned.<br />
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So I saw a good bit of the <a href="http://intheface.me/">In The Face</a> takeover (bassline!) in the Queen Vic while I was waiting for Shane and the lads from my chalet to show up. I'm not entirely sure who all I saw, I remember asking Nate and fair play to him he actually told me who each of them where but that was like ages ago now and I've completely blanked it. Meh, I'm not sure who I saw but I don't think I saw Hadean because I'm fairly certain Hadean is a girl and all the DJs I saw at that thing were guys**, though they did play a good few of the tunes I've enjoyed from the various Hadean sets I have on my iPod so it was all good. Actually hearing songs I particularly enjoy on a proper rig for the first time ever would become a sort of mini theme of the weekend. After meeting up with the rest of the 290's hitting the chalet and dropping off cases, sorting out sleeping arrangements and what not we headed back down in time to catch some of the Jungle Syndicate before hitting the Face Room for one of the most anticipated acts of the weekender.<br />
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<a href="http://www.residentadvisor.net/dj/anklepants">Anklepants</a> was absolutely fucking mental, as you'd expect. I'm sort of sorry I didn't fight my way to the front for a better view as I'm certain I'd have probably have enjoyed it more if I'd have seen him prancing about doing wierd shit and flexing his huge pendulous penis-nose in time to the music (btw if you're reading this and you don't know what Anklepants is and that just sounds like absolute glue, just go on the internet and look him up, or if you'd you'd rather not and just take my word for it, sweet).<br />
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After Anklepants came <a href="http://www.igorrr.com/">Igorrr</a>, Catherine caught about a minute of that, heard the first thrash metal rift and was like "fuck that shit" and left. I stayed for all of it, and it was class and all but I like the ones where he has a live opera songer doing the vocals on certain tracks (there are a few youtube videos of these) and I would have liked to have seen some of that but like I can hardly complain.<br />
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The Hard Way was some pretty serious dark banging shit. There was one wierd bit where Thrasher (who was on on his own, I thought it was supposed to be the three of them) stopped playing records to complain about some guy mugging him off from the floor or something. Now I didn't see see what the guy was doing from where I was so I don't know if the guy was being a complete dick and it was all perfectly justified or whatever or if Thraser was just being a fucking huge primadonna . So if anyone whos reading this actually saw what happend and can clear this up for me it would be much appreciated***. And anyway, Thrasher, never mind that random cunt, what about my fawk'n hoodie? Yous told me on a facebook post your hoodies were 100% cotton then when I bought it from the PRSPCT online merch store, costing me about 40 fawkin quid it turns up and its a fucking cotton poly blend! WTF? Am I ever getting my money back, what about all the fucking emails I've written you cunts about this? You fuckers should be glad someone like me in a country with no Industrial Hardcore scene is willing to spend £40+ to represent your brand on his person, in fact actually you should be paying me. Wheres my fucking money???<br />
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(btw that last bit about the hoodie is actually all true, and one of my few regrets about the weekend was not taking the opportunity on the first day when I saw Thrasher to take it up with him in person).<br />
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<a href="https://www.facebook.com/CounterstrikeDNB">Counterstrike</a> were solid enough, they dropped the <a href="http://www.youtube.com/watch?v=wXUrBivjU5o">Current Value remix of Donny's Symptomless Coma</a> (Jam samples ftw), but I thought whoever that was was on after Pet Duo pissed all over them (says High Rankin on the programme, but I'm sure that they're Dubstep / Drumstep-y, this guy was bouncing around loving life tearing out black hearted rinsing Industrial DnB). Actually one of my favourite sets of the weekend, would be nice to know who he was. Again if anyone knows and can enlighten me please do so below.<br />
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I didn't make it to Hellfish or Kanji as my legs were buckling under me in that last set. Managed to get my head down for a good while on the friday night, got up got showered and had a few adventures with the rest of my 290 man-dem, and headed down for the music again in time to catch the beginning of the <a href="http://loveloverecords.net/">Love Love </a>takeover in the Queen Vic. Love Love is an indie Breakcore lable run by Efz, one of our London crowd whose house myself and some of my mates have stayed in on occaision, a very sound head, who is clearly quite smart and into some very intersting shit and whose occaisional trolling of the IDM facebook group is a work of art. The label itself does some class music. He had a few of his lables best up, Scrase, Beatwife and The Abominable Mr Tinkler who banged out some sick breakcore. The last set Efz played himself with an MC who is by far the best MC I have ever seen in my entire life and more than likely ever will see, the <a href="https://www.facebook.com/alzebabistnationofOOOG">Prophet Zebadiah Obidiah of the Al-Zebabist Nation of OOOG</a>. A huge brown skinned gentleman of indeterminate race (but definitely not fucking white) in a Daishiqui who opened with "I see a lot of new faces tonight, a lot of WHITE faces in the crowd tonight, you are not welcome here, if you're white GET OUT!". And he just kept it up chanting ironic pan-arab-african-nationalist-Islamist-Anti-Colonialist-reverse-racist slogans at the crowd.<br />
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Yeah so novelty comedy satirical MCing, there were some class ones:<br />
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"Renounce your white skin, embrace your melanin!"<br />
"Legalise Heroin! Legalise Dog-meat! Fuck Broadstairs!"<br />
"The White Man was created 8000 years ago in a laboratory"<br />
"Fuck Farage"<br />
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and so on. Which obviously I was absolutely loving, especially the bits when he was cussing out British Imperialism (yeo!) then he started actually going for it and spitting bars over this mad chopped ragged ragga breakcore Efz was blasting out on the decks and it was wasn't just some novelty act he was actually quite good. In a weekend of highlights this was definitely a contender for highlight of highlights. Not that I could ever choose just one.<br />
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The Queen Vic was where it was at the rest of the night, except that the dancefloor just got too packed at Shitwifes set so I bounced into the Face Room and caught a good bit of Distance instead. That had been a clash that I'd been agonising over so I was actually sort of glad that it basically sorted itself out.<br />
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I caught about the first 25 minutes of Remarc bouncing around the right hand side of the Face Room with Jessica and Al from <a href="http://www.residentadvisor.net/dj/thesquireofgothos/">Squire of Gothos</a>. Thats probably one of my abiding visual memories of the festival. If you don't know my mate Jess she's reasonably petite and has quite brightly coulored strawberry blonde hair and Al is this incredibly huge guy with long arms and legs. Jess and Al are good friends and you could see that in the way they were moving around in relation to each other. Between that, the physical disparity between them and the rinsing Amens flying around the room that wee moment there was something just really fun and cute and there was also something completely bad ass about that wee moment in there it was just pure Bangface.<br />
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Big Al is quite a sound fella himself. Everytime I see him at gigs or festivals he always recognises me as one of them mad Belfast ones and makes a point of saying hello. I came down on the Sunday morning to the Queen Vic to catch a bit of Kushti McParty's set. As the only Irish DJ still active this side of the Irish sea actually playing at Bangface he put up this thing on facebook to try and get all the Irish at the festival down for his set. I'd bumped into a bunch of his mates in Southport on the Friday morning before the festival started and hung about with them for a bit and was looking to catch up with some of them, and a few of the Northerners had requested tracks on the page so I was expecting to see a couple of our crowd but nah, by the time I got down there at half past I was the only Irish of any type there. Al was there though, he saw me and he come up an said hello and complimented me on my taste in films. I was a bit taken aback by that for a second, like I do have an amazing taste in films like but like how did he know? Then I remembered the film group on facebook run by my mate Kris, who is a promoter and has booked Squire a good few times to play in Belfast. Then we just got chatting and stuff. He pretty much summed it all up "I've just been listening to sick beats all weekend". Right enough man.<br />
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I left about halfway through Remarcs set then went into the Queen Vic for Satan, found that the dancefloor had thinned out a bit and you could dance in certain parts of it, or if you fancied go down to the front and Mosh. Now I'm obviously hard as fuck but I just didn't feel like like a mosh at that point so I hung back and danced about the middle in the general vicinity of Ben and Carolyn. Satan dropped some great stuff, last tune was a really sick heavy-er remix of Bjork's Mutual Core. I need to put some research in and find that tune, I need more of that in my life,<br />
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Then there was the Teknoist who aside from the wee technical hitch I mentioned earlier banged out some serious industrial hardcore, didn't play much off 'Hurricane (I wanted him to play Full Metal Teknoist because I still think its hilarious that its a remix of a Linkin Park track) but the stuff he was playing was all sweet. And by sweet I mean breakbeats, gabber kicks and distortion, obviously<br />
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After that I was considering heading back to the chalets because up to this point in the day I hadn't seen Catherine at all and I just wanted to check in and say hello. I was just about to leave the main entrance when Cathal came in gave me a hug and was like "here, c'mon seee a bit of Ram Jam with us". Now I've read up on my history of bass music and sound system culture and I know how important <a href="http://en.wikipedia.org/wiki/David_Rodigan">David Rodigan</a> is to the cultural history of the world and everything so I have much respect for the man. I saw him in Belfast at the CQAF in the Black Box January before last and he was dynamite, like older than old school, no beatmatching or mixing or any of that new fangled shite, got up introduced the song and banged it on. And it was class as much because it was him and he was clearly loving life, he had more joy in his heart about this music than any smooth cool techno / house seemless beatmatching DJ ever could have and you could feel it radiating around the room. In Belfast he dropped all the oldschool reggae classics, like pretty much any of the most famous reggae songs you could think of he played, and obviously his own one of a kind dub plates where the recording artist has re-recorded the vocals on the track to include them bigging up David Rodigan (and why not, he's a living legend, or better than that, living true cultural and social history) that was amazing. Then he dropped a Damien Marley Dubstep remix at the end that I loved but seemed to confuse and annoy all the people over 40 in the room, which was like the majority of that gig and I suspect he might have just done it on purpose to clear the floor because the bouncers and security were giving him the death stare from across the floor at that point as he was like more than 25 minutes past their supposed closing time.<br />
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Anyway, I was sort of under the assumption that he would probably play that sort of thing again so it would be sweet if I missed a wee bit. Like one of the original DJs and party promoters, one of the greatest in the world wouldn't know how to play to the crowd. Yeah I can be a fucking idiot sometimes and this was one of those times, and if I hadn't bumped into Cathal things could have gone totally wrong. He was absolutely unreal, banged out all sorts of dubstep, Jungle and D&B and guess what he had one of those one off Rodigan dubplates of? Dub Phizix motherfucking <a href="http://www.youtube.com/watch?v=-ydQ-qPD324">MARKA</a>! When it started coming in I was like woah, nah that isn't, no actually yes it fucking well is -<br />
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Boom<br />
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Stinking-of-Isy-Miyaki-Dark-Rum-And-the-Marijuana!<br />
Step-inna-mi-lake-and-swim-with-the-piranha!<br />
Anytime-mi-drop-mi-go-put-down-a-marka<br />
If-it-nuh-money-say-whe-dem-bother-talk-for?<br />
Dem-a-try-fi-hold-up-a-bank-wid-a-banana<br />
Yeah-we-pree-the-whole-ting-panorama<br />
Whole-heap-a-gun-talk-they-dont-really-want-no-drama....<br />
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Drop!<br />
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Again, a long standing personal favourite ever since the first time my mate Al played it for us at a house party shortly after its relase that I've always wanted to hear but never actually heard on a proper club sound system (because you'd be lucky if you ever got anyone playing that sort of stuff at a gig in Belfast) blasted through the huge rack of speakers in the Bang Room, the sub bass tearing through the room. Then when I heard Strategy's vocals in the second set of bars insert a wee sneaky Rodigan reference in the place of the usual lyrics I was like, yes they did that one just for him, fair play to them and fair play to him. True masters of the arts know their history and rever the originators of the craft.<br />
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He kept on that tip, Dubstep, contemporary bass music and played a couple of quite nice recent subtle remixes of Bob Marley at the end. Actually I think the last one was just the original cut of Is This Love? Which seems to be a popular choice these days, Mala did it last track in his set at Life last year, Nightmares on Wax played it early on in his set in Aether & Echo earlier this year.<br />
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After Rodigan I dropped into the face room for <a href="http://www.brokennote.com/">Broken Note</a>. I've seen Broken Note three times. When they played the Belfast electronic festival I missed a lot of their set, they started a bit late and we left early because Catherine had a splitting headache. I saw them again at Boomtown and again at the Bangface Rave of the Pheonix. So I've seen them a good few times but I saw the programme and saw they didn't clash with anything important so I thought aye sure why not? I do love them and everything about their sound (Industrial bass music!) and in all fairness that one time I did DJ last year I dropped three of thier tracks in my set so yeah, I'm fan. There was something about this time that was just different, or a little bit special. I've never seen Tommy move around behind the decks like that bouncing around absolutely loving it, loving being at Bangface really giving it stacks. And he dropped the <a href="http://www.youtube.com/watch?v=gcygb3PhEtk">16 Bit Remix of Machine Gun by Noisia</a>. Again, I love that song, have been listening to it for years, used it in my own Dubstep mix (which is up on my <a href="http://www.youtube.com/watch?v=JZyyAPzvCk0">Youtube Channel</a> and <a href="http://www.mixcloud.com/conor.../dj-1nsan14y-w0lf-dubstep-mix-22/">Mixcloud</a>) never actually heard it in a club. Amazing track, it just sounds like the end of the world, the music of devestation, the Robot Uprising, that drop is probably what the last human hears coming at the end. Sick fucking tune. They played a lot of their other rinsers too, the sort of ones that the other guy that used to be in Broken Note (and 16 bit at one point) used to take the lead on the production of - or so I've been led to believe. Tommy was switching it up and down seamlessley between two step industrial bass into the drumstep-y stuff into the rinsers throuought the set but that was pretty much going on continuosly. He played <a href="https://soundcloud.com/brokennote/broken-note-the-fury-256kbps">The Fury</a> at the end, a personal favourite that I've only actually heard before the once on a proper rig, and that was the time I played it last halloween in the Catalyst second to last tune of the set. The relentless raining snares on the drop again just sound powefully apocalyptic. Absolute devestation.<br />
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After Broken Note I went into the main room to see <a href="http://www.residentadvisor.net/dj/edrush">Ed Rush</a>. I can't remember if Shane and Kevin had been with me for Broken Note (possibly at the end?) but they were with me for Ed Rush. I remember explaining to Kevin that like a good few of the artists on the lineup this year the guy they were listeing to was considered the originator of the genre of electronic music he's known for producing. In this case Techstep. I've never seen Ed Rush before and I heard he was still on great form these days, and I do like a bit of Techstep, you knock about with Kris long enough you do tend to get the bug, its infectious :) Actually in all seriousness thinking back on it, I remember back a good couple of years ago just when I started making the transition from knocking around the goth scene to going to the odd ravey thing hearing Kris play Techstep at his own nights and that time he opened for Black Sun Empire at the End Club like before I'd even properly met him just hearing that sound and not really being able to articulate exactly why or what it was in it that I liked but just knowing it was great. It was something that opened me up to wider electronic music culture. So aye I've come to embrace the techstep.<br />
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Ed Rush absolutely smashed it, just solid Techstep rinsers, flying breakbeats and basslines for a solid hour. By this time unfortunately it was quite late and I was beginning to flag. I reckon I might have been sitting down at the back with Kevin for at least 20 minutes of the hour set just raving the bit out from the waist up.<br />
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I was definitely up for the last bit though when he spun through a couple of modern Techstep classics, Upbeats and <a href="http://www.youtube.com/watch?v=8UAUDbWrVhA">Messiah</a> (I think it might have been the <a href="http://www.youtube.com/watch?v=Mg9YWdSkEXs">Noisia remix</a> but I always get it and the original confused).<br />
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Following him <a href="http://www.alec-empire.com/">Alec Empire</a>, again an artist I've seen a couple of times, Once at a fucking terrible festival in Belgium called Tribes Gathering, once in the Black Box in Belfast (I thought he was alright that time but Cathal had seen him a good few times up to that point and he wasn't impressed) but this time was by far the best.<br />
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I think this was the set where me Shane and Tommy Palmer were knocking about just the three of us. One of the few photos of the festival on my phone camera (yeah I never think to take photos when I'm out, like I never even got one of us four from the 290 kill squad all together) was of me and Shane taking turns wearing some random Cyber Goth Flourescent dreads on a hair band.<br />
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Shane stayed and caught the beginning of <a href="https://www.facebook.com/TheDjProducer">Producer</a> but he was flagging while my tactical sit down rave at Ed Rush had given my legs back the energy to keep on it. Again, Producer was on banging form, but then who has ever seen DJ Producer play a bad set? he's legendary for being one of the most consistent DJs in any genre of electronic music. And apparently for being sound as fuck. You see that Mr Funk and Mr D James, just because you are the best in the world at what you do doesn't mean you have to get on like a twat. Can't remember who I was with but I wasn't on my own, I think Joe at one pont.<br />
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Anyway at this point I had bumped into Tommy and Ciara, none of us really felt like going to bed at this point so none of us quite felt like sleep so I asked if I could call at my chalet to grab something or other and then we'd bounce around and see who else was up. I'd had a good saturday at Bangface and just the only thing missing was that I hadn't seen my wee sister all day, but then it was quite late, I didn't think she'd got much sleep on the friday so I'd imagined she probably would hve gone to bed by that stage and was yp for doing a mission to hers to check but wasn't holding out much hope. So, knowing the other lads would be sleeping when I came in I asked Tommy and Ciara to wait outside while I grabbed whatever it was I was getting. When I came out Ciara was like, here, I think I've just seen your sister head into that chalet there, number 303. In my head I was like actually I remember sitting with her last night talking to a guy who was mates with one of the Irish ex pats going on about how chuffed him and his mate were at getting chalet 303 Aciiiiiiid!<br />
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So we bopped down, knocked the door and there she was! Saturday was then absolutely made compete, much thanks to Ciara because without her I'd have missed Catherine crossing the courtyard into that flat.<br />
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So we then spent a couple of hours hanging out with the 303 Geordies, one of whom I'd met at the last two Boomtowns the rest of the guys I didn't know but they soon got to know us. Through the medium of bass, beats and sexism that is - Ghettotech!<br />
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Catherine cut a sweet deal with them, she would come to thier chalet with a portable speaker and play some music for them as long as she got to pick the tunes. They were ameanable to this, which is probably just as well as if they hadn't been the same thing would likely have happened, and that thing? Yes, Ghettotech!<br />
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So that was how we had our fun that morning. At one point Catherine was lamenting the lack of any Ghettotech being played at Bangface, which actually wouldn't be unheard of, Godfather had played at the 2011 weekender after all, and I was like, hang on isn't Dave Shades playing the Queen Vic tomorrow, Checked the programme and indeed he was. (Bassline / Breakcore hybrid)-Ghettotech!<br />
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At some point I went to bed for a power nap and set my alarm to get me up in time to see Kushti McPardy in the Queen Vic. I've already said how that one went. After that I went for a wee dander and met some people, including the Plaid loving Dutch guys I talked about at the beginning of this post, which seems like a long time ago now doesn't it?<br />
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Came back in at sixish PM saw my Sister in the smoking area with the 303 Geordies ran round gave her a hug and headed back into the rave. At the front right of Bass Clef I found Fred, one of the 303-ers that I'd spent a good bit of time speaking to in their chalet last night. I wasn't actually for stopping but he was saying <a href="http://qujunktions.com/artists/bassclef">Bass Clef</a> was playing unusualy upbeat dancy stuff, so I stuck around and raved the bit out with Fred. It was all great stuff, Bass Cleft was still knocking about throwing in bits and pieces of live intruments to the mix but all the stuff wasn't the sort of chill dubstep he's known for, it was like fast world-music-y rhythms and beats. I'm not over familliar with Latin Freestyle, or Moombahton or some of the other national trad deriviatives coming out of South America at the minute so I can't say what it was exactly but I've a feeling it was one of those. Again if anyone reading this was there for or has heard Bass Clef doing this type of stuff before do comment because I'd be interested in knowing.<br />
<br />
So after that it was time for Ghettotech! (Or well near enough).<br />
<br />
So I went to Queen Vic to hear <a href="https://soundcloud.com/dave-shades">Dave Shades</a> just starting, took a look around no Catherine, I was concerned that she might be missing the Ghettotech so I took a tour round all the rooms and reception and there was no sign, I was just at the back of the dancefloor on the Queen Vic wondering if I should maybe take a quick run up to her chalet or stick around here and resign myself to the possibilty of her not showing up on her own when I saw a familliar Jake The Dog yellow Hoodie appear out of the corner of my field of vision. Ghettotech!<br />
<br />
"Dave Shades is amazing, its like Bassline and Ghettotech fucked and had a mutant baby".<br />
~Cat McV c.2015<br />
<br />
So we found a good spot at the top left of the dancefloor and me and her bounced around to Dave Shades, loving it.<br />
<br />
On the way home in the bus station that takes you to the airport I was chatting to another Bangface attendee and I asked him what his favourite thing had been this weekend and he didn't talk about any of the Djs or acts but about the sunday morning when him and his mates went down to the beach to watch the sun come up over the sea. Now I didn't do anything quite like that but it made me think about "Best" in terms of the experience and the emotional resonance of the moment rather than just the aesthetic, because the music was just un-real all weekend. I caught the last half hour of <a href="https://www.facebook.com/xntrickrave">X&Trick</a> by accident because of the way the shedule was arranged, never heard of him before, and had no idea who he was, blew me away with a couple of his productions, like the one that I'll be trying to find when I get this post done, the one that uses the Ghost in The Shell music. But back to my original point. When thought about what your man said and I assessed things in terms of being meaningful us two bouncing aroung in the Dave Shades set was the first thing to come into my head. So the best set I would say that I saw all weekend was probably Dave Shades. As much for personal reasons, as for the tunes. Not that you could fault the tunes like, he played Bassline Ghettotech hybrid stuff with similar production to what you'd hear in Off Me Nut tunes but Ghettotech rolling rhythm and his own very random hip-hop vocal samples, incluing one which I particularly enjoyed that used the first line from Wu Tang Clan Shame on a Nigga intercut with BBC News storys about Chris Huhne, into some Vengaboys which actually went off into some heavier stuff into the last 15-20 minutes of the set which was mostly Ghettotech-Gabber.<br />
<br />
After the set Catherine went off for a bit, I dandered around and ended up watching Reeps One in the Bang Room with Joe Griff. That was fucking sick and impressive watching this guy just make this music all these other people had rocked up at this festival with stacks of equiptment to make just out of his mouth. All the complexity of beats and basslines going at the same time like just out of the interaction of his mouth and a mike dropping in and out of genres, bass music, drum and bass, techno, glitch hop hardcore even. Definitely a contender for most impressive thing of the weekend.<br />
<br />
After that I was like fuck Roni Size, fuck Spongepusher, I was never a fan of Mr Size and I've been reliably informed that Squarepusher is fucking shit these days, and arguably never was all that anyway (and he's headlinging loads of festivals, enjoy it peasents!). So I said to my chalet mates that we'd just be better heading to the Face room for <a href="https://www.facebook.com/pages/Audiotist/149554978425092">Audiotist</a> and <a href="http://www.wanbushi.com/">Wan Bushi</a>. They were somewhat invested in the notion that Squarepusher wasn't going to be fucking terrible (ah, was I ever so young?) so they said they'd come along for a bit anyway then check out a bit of Suarepusher. So we did, as I mentioned catch, by accident, catch the last half of X&Trick really class, Acid-y 303 driven hardcore beats, almost like happy hardcore but not quite. Audiotist was amazing, hadn't heard of him before I saw him on the lineup and checked out some of his stuff, and it was indeed good. Some of it was a bit Novelty-Breakcore but with Squarepusher in the other room, it does ye.<br />
<br />
About this point I managed to lose my keys. I was sitting at the far end of the face room talking to this girl and her mate. She was telling me about having teddys when she was a kid. I took my keys put of my pocket to show her the Gizmo from Gremlins on my key chain, which I have because when I was a kid I had a Gizmo stuffed toy that was like my main teddy for years. That led us on to talking about films and we ended up talking for ages, we exchanged phone numbers and I took down their names on my phone to get in touch with them through Facebook. Later on I realised that my key was gone I went back to the face room where we'd been sitting and they weren't there. I went to security and spoke to lost and found, gave in a description. Eventually when I got back to Belfast I finally got my phone back on charge I got loads of texts and messages through, including mixed calls and text messages including one from them telling me that they found my keys and were looking for me. I texted them back immediately asking what had happened and they told me they'd given up looking for me and handed the keys into security. Sweet, Wrong-tins best have my keys when I call them in the morning or shits going to fly.<br />
<br />
Anyway after the music was over I managed to find Catherine again, ended up with her, Joe and some of Joes Chalet mates, blasting Ghettotech into the wee hours.<br />
<br />
So that was it for another year. The check out process was all sorts of fucked up compared to the last couple of years. Getting off site after a festival is never exactly pleasent but this was an absolute head fuck. As I said at the time "Sort your fucking shit out". At one point I was queuing with Shane, but he asked me if if he could just split back to the other guys and our bags since there was no point in the two of us queuing and He'd done all that melt to get the keys when we where checking in (back in the day when I was illegally entering the queen vic without a wrist band, grooving to bassline and loving life). That seemed entirely reasonable, and in retrospect it actually was. However I came to rue my generousity of spirit, like in all fairness I doubt that him being there would have made the situation any better I was losing my voice and too tired to be any crack anyway, but at the least I could have the pleasure or watchimg another human being suffer, as I have suffered!<br />
<br />
But aye that fucking deposit retireval system needs sorted for next year, considering how delicate you get after a three day breakcore festival I'm surprised there weren't any freak outs, attempted suicides or just actual shite-attacks. Or at least there hadn't been by the time I got off site, I wouldn't rule it out.<br />
<br />
Bangface never really even ended near enought all the way home, at every stage of the public transport system all the way back to the airport and even up to the departure lounge there were other Bangfacers milling about or sitting down. I met Fred 303 again in the train station, got talking on the train to some guys from London including a Breakbeat Punk-Jungle producer called Tom who makes music as Doctor Colossus who apparetly knows my mate Matt.<br />
<br />
So yeah, that was pretty much the story of the weekend, with certain details that were not meant for public consumption redacted. Looking to the future, I have potentially two gigs playing Industrial music at home potentially happening subject to me being able to get the dates required off work and other circumstances. A new laptop with enough RAM to handle TRAKTOR 2.0 with minimum fuss and a halfway decent job that will allow me to afford a decent ish USB controller of my own. My skin is still in too delicate a state to do camping festivals so Boomtown is still fucked (which is a bit of a shit one, because Forbidden Society, Noisia, The Bug and Flowdan, Dillinja and a load of other artists on my "I need to make this happen" list are already on the lineup) but on the upside I always said Machinefest looks like my perfect festival and I said I'd go if I could ever find one other person I knew that was going. Susan Blue the amazingly class woman with blue hair from Sheffield I met when I was covering Infest for Decompression Magazine (RIP) last year who was also a Bangface regular goes, I know her and she said it was cool if I tagged along with her this time around and was nice nice enough to fill me in on some of the festivals details like what people do for accomodation and some of the other practicalities when I got speaking to her over the weekend so thats definitely on the cards and it'll be interesting to see who else I might get to go with me.<br />
<br />
So onwards and upwards.<br />
<br />
Bangface!<br />
Ghettotech!<br />
Does Ye!<br />
Fuck Broadstairs!<!--3--><!--3--><!--3--><!--3--><!--3--><!--3--><br />
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<br />
*Update 9/4/15, am now in touch with Pete, Amy and Terry<br /><br />**Update 3/4/5 - Hadean is not a girl<br />
<br />
***Update 25/03/15<br />
<br />
The Thrasher thing explained-<br />
<br />
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<!--3-->Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com2tag:blogger.com,1999:blog-4491249042793173661.post-67742998078635870862013-10-09T19:33:00.001-07:002013-10-09T19:53:19.726-07:00Review: The Steven Nolan Show 09/10/2013<br />
The Nolan Show is occasionally capable of some of the worst examples of local journalism. The episode earlier this year where they covered the flag protest should live in infamy. Inviting a crowd of sectarian bigots who had actually scared off a lot of the people who had ordered their tickets because you don't want an empty studio was ill considered at best and calculated irresponsible sensationalism at worst. The show does from time to time throw up the odd surprise.<br />
<br />
Tonights episode was something else.<br />
<br />
They took on the abortion issue and the ambiguities in the law here by talking to the family of a woman who found out that the foetus she was carrying basically didn't have a head and wouldn't live long after the birth and the amount of shit that she and her family have been through. He had the Womans mother on the panel, Rosie Ward from the Christian Medical Centre on the other chair towing the fundamentalist Christian party line, Bernie Smith of anti choice group Precious Life in the audience, Goretti Horgan from Alliance For Choice and Breedagh Hughes from the royal college of midwives making an appearance by satellite. Nolan himself, who was definitely on the right side of this one, was chairing the whole thing as usual and let the facts speak for themselves without letting his ego get in the way of the debate, which made a nice change.<br />
<br />
It made the family's dilemma quite clear and it also exposed the inhuman hateful attitudes of Precious Life to a T. Some of it was brutal, both in good and bad ways. Smith got a complete rinsing from Nolan and the mother of the woman, she was basically made to admit that she would force a woman against her will to carry a foetus that was going to die to full term and when presented with the Womans account of being harassed outside a FPA centre by her own activists she refused to condemn their behaviour. Its that sort of thing that has the potential to actually shift people on this issue.<br />
<br />
I also noticed that That last chap to speak from the floor on tonights Nolan Show IS actually one of those creepy anti-choice people that stand outside the FPA on Shaftsbury square. I pass there going to work all the time and I recognise his face. The pictures they use of "aborted Fetus" as part of their scare tactics aren't taken from abortions at all, they are actually miscarriages. Precious Life seem to have clocked that this one didn't go at all well for them and seem to be shitting themselves, and are actually calling for a campaign against the Nolan Show on twitter now. Good. Picketing people who are emotionally distressed isn't cool, even people I know who would be quite anti abortion are disgusted by their actions, something Nolan seemed happy to call Smith on. Seeing the mother of the victim of that behaviour confronting Bernie Smith is probably going to be my TV highlight of the year.<br />
<br />
Goretti played an absolute blinder explaining the political realities of the situation but wasn't on it for long enough. The woman who was on representing the Royal College of midwives called the current legislative guidance from the NI assembly around abortion and the legalities of the women who travel to Britain to get it done "intimidatory and threatening".<br />
<br />
There were a few niggles, but it was extremely well done. If you haven't seen it catch it on iPlayer<br />
<br />
<a href="http://www.bbc.co.uk/iplayer/episode/b03cc1jz/The_Nolan_Show_Series_3_Episode_10/">http://www.bbc.co.uk/iplayer/episode/b03cc1jz/The_Nolan_Show_Series_3_Episode_10/</a>Kohhnahttp://www.blogger.com/profile/13443220974068265321noreply@blogger.com0