DOCSLIB.ORG

The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Visceral Material: Cinematic Bodies on Screen Małgorzata Bugaj PhD Film Studies The University of Edinburgh 2014 Declaration This is to certify that that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. Signed: Małgorzata Bugaj Abstract This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and haptic visuality which privileges sensual, close engagement with the image of the material object. I consider the medical and the haptic as metaphors for depictions of the body in cinema. To develop my analysis, I draw on the works of Michel Foucault, Laura U. Marks and Vivian Sobchack amongst others. I conclude that the discussed films, preoccupied with images of corporeal forms, criticise cinema’s conventional treatment of the body as simply a vessel for a goal-driven character and portray bodies which appear to consciousness in their own right. Acknowledgements I would like to thank, first and foremost, David Sorfa for his guidance, motivation and superb supervision in the most crucial stages of my studies. I received much inspiration and encouragement from John Orr. Grateful acknowledgement is due to Kriss Ravetto-Biagioli for her advice and help. I would also like to thank Martine Beugnet and Daniel Yacavone. Finally, thanks to Gary Denham for his support, interest and much more besides. Contents INTRODUCTION Cartesian duality................................................................................................... 2 Bodies appearing to conscious awareness............................................................ 3 Bodies in cinema .................................................................................................. 4 CHAPTER ONE Theoretical introduction .......................................................................................... 11 The haptic ............................................................................................................... 11 Types of haptic expression in cinema ................................................................ 13 The medical ............................................................................................................ 19 Medical images in popular culture ..................................................................... 24 The haptic and the medical as metaphors .............................................................. 28 CHAPTER TWO The Elephant Man and Crash .................................................................................. 30 The Elephant Man .................................................................................................. 35 Inside a freak show............................................................................................. 38 The scientific gaze.............................................................................................. 49 Extraordinary bodies – between entertainment and medicine ........................... 54 Crash ...................................................................................................................... 55 Sanitised bodies .................................................................................................. 56 Post-crash bodies ................................................................................................ 58 Spectacular bodies .............................................................................................. 64 Outside horror and pornography ........................................................................ 73 The Elephant Man and Crash – spectacular bodies disenchanted ......................... 75 CHAPTER THREE Attenberg ................................................................................................................... 81 Acting ................................................................................................................. 83 Architecture ........................................................................................................ 86 Human / animal .................................................................................................. 92 Sexuality ............................................................................................................. 99 Medicine ........................................................................................................... 107 Death ................................................................................................................ 113 The body vs. the self ........................................................................................ 122 CHAPTER FOUR Sokurov’s family trilogy ........................................................................................ 124 Skin ...................................................................................................................... 127 Mother and Son .................................................................................................... 130 Landscapes ....................................................................................................... 131 Human figure ................................................................................................... 135 Skinscapes ........................................................................................................ 136 Landscapes to skinscapes ................................................................................. 140 Father and Son ..................................................................................................... 141 The sensuous .................................................................................................... 143 The medical ...................................................................................................... 145 Between the medical and the sensuous ............................................................ 155 Alexandra ............................................................................................................. 156 Smell ................................................................................................................ 158 Touch................................................................................................................ 163 Cinema and proximal senses in Alexandra ...................................................... 167 Sokurov’s family trilogy – the exploration of skin .............................................. 168 CHAPTER FIVE Taxidermia ............................................................................................................... 170 The politicized body ............................................................................................. 171 Skin / viscera ........................................................................................................ 176 Skin – celebrating the sensual .......................................................................... 177 Viscera – the beauty of the body interior ......................................................... 186 From the sublime to the beautiful .................................................................... 196 Bakhtin and Baudrillard in Taxidermia................................................................ 196 Bakhtin’s grotesque body and Taxidermia ...................................................... 197 Baudrillard’s body as the finest of consumed objects ...................................... 203 Between Bakhtin and Baudrillard .................................................................... 211 Taxidermia’s journey through the body ............................................................... 211 CONCLUSION ....................................................................................................... 214 TABLE OF FIGURES ........................................................................................... 218 FILMOGRAPHY……………………….………………………………………..218 BIBLIOGRAPHY .................................................................................................
Recommended publications
  • Casting Announced for Asolo Rep's MORNING AFTER GRACE Directed by Peter Amster; Production Runs Jan

    Casting Announced for Asolo Rep's MORNING AFTER GRACE Directed by Peter Amster; Production Runs Jan

    MORNING AFTER GRACE Page 1 of 6 ***For Immediate Release*** December 19, 2017 Casting Announced for Asolo Rep's MORNING AFTER GRACE Directed by Peter Amster; Production runs Jan. 17 - March 4 (SARASOTA, December 19, 2017) — Asolo Rep continues its repertory season with MORNING AFTER GRACE, a poignant comedy about new love for the older set. Penned by playwright Carey Crim, a fresh voice for the American stage, and directed by Asolo Rep Associate Artist Peter Amster (Asolo Rep: Born Yesterday, Living on Love, The Matchmaker, and more), MORNING AFTER GRACE previews January 17 and 18, opens January 19 and runs in rotating repertory through March 4 in the Mertz Theatre, located in the FSU Center for the Performing Arts. The morning after a funeral, Abigail and Angus awake from a whirlwind, booze-fueled one- night-stand on Angus' couch. And so begins this unconventional comedy, set in a not-so- distant Florida retirement community. As Abigail and Angus uncover the meaning of their hook-up and future, Abigail's neighbor Ollie, a retired baseball pro, struggles to find a way to make sense of his past and the secret he's hidden for decades. Hilarious and heart- warming, MORNING AFTER GRACE reminds us that it is never too late to rediscover love, and yourself, again. -more- MORNING AFTER GRACE Page 2 of 6 MORNING AFTER GRACE premiered at the Purple Rose Theatre Company in 2016. Asolo Rep's production of the play has provided an exciting opportunity for Carey Crim to be in rehearsals and work with Peter Amster to hone and fine tune the play even further.
  • It 2.007 Vc Italian Films On

    It 2.007 Vc Italian Films On

    1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute.
  • The 200 Plays That Every Theatre Major Should Read

    The 200 Plays That Every Theatre Major Should Read

    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
  • Cutting Patterns in DW Griffith's Biographs

    Cutting Patterns in DW Griffith's Biographs

    Cutting patterns in D.W. Griffith’s Biographs: An experimental statistical study Mike Baxter, 16 Lady Bay Road, West Bridgford, Nottingham, NG2 5BJ, U.K. (e-mail: [email protected]) 1 Introduction A number of recent studies have examined statistical methods for investigating cutting patterns within films, for the purposes of comparing patterns across films and/or for summarising ‘average’ patterns in a body of films. The present paper investigates how different ideas that have been proposed might be combined to identify subsets of similarly constructed films (i.e. exhibiting comparable cutting structures) within a larger body. The ideas explored are illustrated using a sample of 62 D.W Griffith Biograph one-reelers from the years 1909–1913. Yuri Tsivian has suggested that ‘all films are different as far as their SL struc- tures; yet some are less different than others’. Barry Salt, with specific reference to the question of whether or not Griffith’s Biographs ‘have the same large scale variations in their shot lengths along the length of the film’ says the ‘answer to this is quite clearly, no’. This judgment is based on smooths of the data using seventh degree trendlines and the observation that these ‘are nearly all quite different one from another, and too varied to allow any grouping that could be matched against, say, genre’1. While the basis for Salt’s view is clear Tsivian’s apparently oppos- ing position that some films are ‘less different than others’ seems to me to be a reasonably incontestable sentiment. It depends on how much you are prepared to simplify structure by smoothing in order to effect comparisons.
  • CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…

    CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…

    5 JAN 18 1 FEB 18 1 | 5 JAN 18 - 1 FEB 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and counting… As you’ll spot deep within this programme (and hinted at on the front cover) January 2018 sees the start of a series of films that lead up to celebrations in October marking the 40th birthday of Filmhouse as a public cinema on Lothian Road. We’ve chosen to screen a film from every year we’ve been bringing the very best cinema to the good people of Edinburgh, and while it is tremendous fun looking back through the history of what has shown here, it was quite an undertaking going through all the old programmes and choosing what to show, and a bit of a personal journey for me as one who started coming here as a customer in the mid-80s (I know, I must have started very young...). At that time, I’d no idea that Filmhouse had only been in existence for less than 10 years – it seemed like such an established, essential institution and impossible to imagine it not existing in a city such as Edinburgh. My only hope is that the cinema is as important today as I felt it was then, and that the giants on whose shoulders we currently stand feel we’re worthy of their legacy. I hope you can join us for at least some of the screenings on this trip down memory lane... And now, back to the now.
  • Marzo 2014 Proposte

    Marzo 2014 Proposte

    MARZO 2014 MARZO 2014 PROPOSTE Ogni mese il Centro Audiovisivi di Bolzano mette a disposizione questa brochure contenente Proposte, Ritratti Novità, Ricorrenze. di donne PROPOSTE nel cinema Un’occasione per conoscere e imparare ad amare il grande cinema. Ogni mese viene proposto un tema di- di ieri e di oggi verso per suggerire attraverso la cinematografia d’au- tore spunti di riflessione e valorizzare il patrimonio della mediateca del Centro Audiovisivi di Bolzano. NOVITÀ NOVITÀ Cinema La raccolta cinematografica è in grande crescita e comprende film, documentari e libri a partire dalle Film dalle origini origini della storia del cinema fino a oggi. Ogni mese ai giorni nostri si arricchisce di ulteriori film di qualità che vengono messi a disposizione di tutti i cittadini interessati. Documentari RICORRENZE La ricorrenza della data di nascita di alcuni dei più RICORRENZE famosi attori, attrici e registi della storia del cinema è occasione per ricordare ogni mese i capolavori che Piera Degli Esposti loro hanno realizzato. Invito tutti a rivedere, scoprire e riscoprire le loro opere nella mediateca. Luc Besson Keira Knightley Buona visione! Quentin Tarantino MARZO 2014 PROPOSTE MARZO 2014 Ritratti Lulu di donne Donne nel cinema L’onorevole Angelina di ieri e di oggi Siamo donne PROPOSTE Sabrina Sedotta e abbandonata Tre donne Il raggio verde Speriamo che sia femmina Thelma & Louise Il cerchio Ti do i miei occhi Vogliamo anche le rose Changeling – Una storia vera Beyond Potiche – La bella statuina Le donne del 6° piano We Want Sex 4 5 LULU SIAMO DONNE DEU / 1929 / DRAMMATICO / 128' / B/N / MUTO ITA / 1953 / EPISODI / 95' / B/N / SONORO REGIA Lulù, una ex fioraia, vuole fare carriera nel mondo del varietà, REGIA Film collettivo diviso in cinque parti.
  • JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994

    JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994

    The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress.
  • The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole

    The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole

    Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film.
  • The Art of David Lynch

    The Art of David Lynch

    The Art of David Lynch weil das Kino heute wieder anders funktioniert; für ei- nen wie ihn ist da kein Platz. Aber deswegen hat Lynch ja nicht seine Kunst aufgegeben, und nicht einmal das Filmen. Es ist nur so, dass das Mainstream-Kino den Kaperversuch durch die Kunst ziemlich fundamental abgeschlagen hat. Jetzt den Filmen von David Lynch noch einmal wieder zu begegnen, ist ein Glücksfall. Danach muss man sich zum Fernsehapparat oder ins Museum bemühen. (Und grimmig die Propaganda des Künstlers für den Unfug transzendentaler Meditation herunterschlucken; »nobody is perfect.«) Was also ist das Besondere an David Lynch? Seine Arbeit geschah und geschieht nach den »Spielregeln der Kunst«, die bekanntlich in ihrer eigenen Schöpfung und zugleich in ihrem eigenen Bruch bestehen. Man er- kennt einen David-Lynch-Film auf Anhieb, aber niemals David Lynch hat David Lynch einen »David-Lynch-Film« gedreht. Be- 21 stimmte Motive (sagen wir: Stehlampen, Hotelflure, die Farbe Rot, Hauchgesänge von Frauen, das industrielle Rauschen, visuelle Americana), bestimmte Figuren (die Frau im Mehrfachleben, der Kobold, Kyle MacLachlan als Stellvertreter in einer magischen Biographie - weni- ger, was ein Leben als vielmehr, was das Suchen und Was ist das Besondere an David Lynch? Abgesehen Erkennen anbelangt, Väter und Polizisten), bestimmte davon, dass er ein paar veritable Kultfilme geschaffen Plot-Fragmente (die nie auflösbare Intrige, die Suche hat, Filme, wie ERASERHEAD, BLUE VELVET oder die als Sturz in den Abgrund, die Verbindung von Gewalt TV-Serie TWIN PEAKS, die aus merkwürdigen Gründen und Design) kehren in wechselnden Kompositionen (denn im klassischen Sinn zu »verstehen« hat sie ja nie wieder, ganz zu schweigen von Techniken wie dem jemand gewagt) die genau richtigen Bilder zur genau nicht-linearen Erzählen, dem Eindringen in die ver- richtigen Zeit zu den genau richtigen Menschen brach- borgenen Innenwelten von Milieus und Menschen, der ten, und abgesehen davon, dass er in einer bestimmten Grenzüberschreitung von Traum und Realität.
  • TRANSCRIPT Editing, Graphics and B Roll, Oh

    TRANSCRIPT Editing, Graphics and B Roll, Oh

    TRANSCRIPT Editing, Graphics and B Roll, Oh My! You’ve entered the deep dark tunnel of creating a new thing…you can’t see the light of day… Some of my colleagues can tell you that I am NOT pleasant to be around when I am in the creative video-making tunnel and I feel like none of the footage I have is working the way I want it to, and I can’t seem to fix even the tiniest thing, and I’m convinced all of my work is garbage and it’s never going to work out right and… WOW. Okay deep breaths. I think it’s time to step away from the expensive equipment and go have a piece of cake…I’ll be back… Editing, for me at least, is the hardest, but also most creatively fulfilling part of the video-making process. I have such a love/hate relationship with editing because its where I start to see all the things I messed up in the planning and filming process. But it’s ALSO where - when I let it - my creativity pulls me in directions that are BETTER than I planned. Most of my best videos were okay/mediocre in the planning and filming stages, but became something special during the editing process. So, how the heck do you do it? There are lots of ways to edit, many different styles, formats and techniques you can learn. But for me at least, it comes down to being playful and open to the creative process. This is the time to release your curious and playful inner child.
  • CALIFORNIA's NORTH COAST: a Literary Watershed: Charting the Publications of the Region's Small Presses and Regional Authors

    CALIFORNIA's NORTH COAST: a Literary Watershed: Charting the Publications of the Region's Small Presses and Regional Authors

    CALIFORNIA'S NORTH COAST: A Literary Watershed: Charting the Publications of the Region's Small Presses and Regional Authors. A Geographically Arranged Bibliography focused on the Regional Small Presses and Local Authors of the North Coast of California. First Edition, 2010. John Sherlock Rare Books and Special Collections Librarian University of California, Davis. 1 Table of Contents I. NORTH COAST PRESSES. pp. 3 - 90 DEL NORTE COUNTY. CITIES: Crescent City. HUMBOLDT COUNTY. CITIES: Arcata, Bayside, Blue Lake, Carlotta, Cutten, Eureka, Fortuna, Garberville Hoopa, Hydesville, Korbel, McKinleyville, Miranda, Myers Flat., Orick, Petrolia, Redway, Trinidad, Whitethorn. TRINITY COUNTY CITIES: Junction City, Weaverville LAKE COUNTY CITIES: Clearlake, Clearlake Park, Cobb, Kelseyville, Lakeport, Lower Lake, Middleton, Upper Lake, Wilbur Springs MENDOCINO COUNTY CITIES: Albion, Boonville, Calpella, Caspar, Comptche, Covelo, Elk, Fort Bragg, Gualala, Little River, Mendocino, Navarro, Philo, Point Arena, Talmage, Ukiah, Westport, Willits SONOMA COUNTY. CITIES: Bodega Bay, Boyes Hot Springs, Cazadero, Cloverdale, Cotati, Forestville Geyserville, Glen Ellen, Graton, Guerneville, Healdsburg, Kenwood, Korbel, Monte Rio, Penngrove, Petaluma, Rohnert Part, Santa Rosa, Sebastopol, Sonoma Vineburg NAPA COUNTY CITIES: Angwin, Calistoga, Deer Park, Rutherford, St. Helena, Yountville MARIN COUNTY. CITIES: Belvedere, Bolinas, Corte Madera, Fairfax, Greenbrae, Inverness, Kentfield, Larkspur, Marin City, Mill Valley, Novato, Point Reyes, Point Reyes Station, Ross, San Anselmo, San Geronimo, San Quentin, San Rafael, Sausalito, Stinson Beach, Tiburon, Tomales, Woodacre II. NORTH COAST AUTHORS. pp. 91 - 120 -- Alphabetically Arranged 2 I. NORTH COAST PRESSES DEL NORTE COUNTY. CRESCENT CITY. ARTS-IN-CORRECTIONS PROGRAM (Crescent City). The Brief Pelican: Anthology of Prison Writing, 1993. 1992 Pelikanesis: Creative Writing Anthology, 1994. 1994 Virtual Pelican: anthology of writing by inmates from Pelican Bay State Prison.
  • The Ghostmodern: Revisionist Haunting in Turn-Of-The-Century American Literature (1887-1910)

    The Ghostmodern: Revisionist Haunting in Turn-Of-The-Century American Literature (1887-1910)

    THE GHOSTMODERN: REVISIONIST HAUNTING IN TURN-OF-THE-CENTURY AMERICAN LITERATURE (1887-1910) by MATH TRAFTON B.A., University of Colorado, 2003 B.S., University of Colorado, 2003 M.A., University of Colorado, 2005 M.A., University of Colorado, 2008 A dissertation submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Comparative Literature 2013 This dissertation titled: The Ghostmodern: Revisionist Haunting in Turn-of-the-Century American Literature (1887-1910) written by Math Trafton has been approved for the Department of Comparative Literature Dr. Karen Jacobs, committee chair Dr. Mark Leiderman Dr. Eric White Dr. Sue Zemka Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Trafton, Math (Ph.D., Comparative Literature) The Ghostmodern: Revisionist Haunting in Turn-of-the-Century American Literature (1887- 1910) Dissertation directed by Associate Professor Karen Jacobs This project attempts to identify and explain numerous significant transformations in the genre of the literary ghost story in the period roughly contemporary with the earliest emergence of literary Modernism. Through a detailed examination of the literary encounters with invisibility in pivotal American ghost stories from the end of the twentieth century, the project considers the rich literary trope of ghostly haunting according to its capacity to provoke an engagement with marginalized, liminal spaces. In traditional ghost stories, however, as ghosts are ultimately overcome and order is restored, normative structures resume, and such engagements are trivialized.