• "({})": Raunch Culture, Third Wave Feminism and The Vagina Monologues

      Halligan, Benjamin (John Hopkins University Press, 2014)
    • Ray Bradbury on screen: martians, beasts and burning books

      Nichols, Phil; Sassaman, Gary (San Diego Comic Convention, 2020-07-23)
    • Reading Jean Toomer's Cane

      Carlin, Gerry (Humanities-Ebooks, 2014-03-27)
    • Reclaim Photography 2016 Exhibition, 2016 Gallery Print Catalogue 26.'Family' (Artefact)

      Fahy, Su (Maxine Watts, Director Reclaim Photography West Midlands, 2016-04)
      This submission is an archived collective project which we brought to the UK in 2016 - this project's documentation is archived on line in - www.reclaimphotographywestmidlands.com Reference 2016 Festival. Reference 2016 Gallery Print Catalogue (26.'Family', su fahy.
    • Recovery kinetics of knee flexor and extensor strength after a football match

      Draganidis, D; Chatzinikolaou, A; Avloniti, A; Barbero-Álvarez, JC; Mohr, M; Malliou, P; Gourgoulis, V; Deli, CK; Douroudos, II; Margonis, K; et al. (Public Library of Science (PLoS), 2015-06-04)
      We examined the temporal changes of isokinetic strength performance of knee flexor (KF) and extensor (KE) strength after a football match. Players were randomly assigned to a control (N = 14, participated only in measurements and practices) or an experimental group (N = 20, participated also in a football match). Participants trained daily during the two days after the match. Match and training overload was monitored with GPS devices. Venous blood was sampled and muscle damage was assessed pre-match, post-match and at 12h, 36h and 60h post-match. Isometric strength as well as eccentric and concentric peak torque of knee flexors and extensors in both limbs (dominant and non-dominant) were measured on an isokinetic dynamometer at baseline and at 12h, 36h and 60h after the match. Functional (KFecc/KEcon) and conventional (KFcon/KEcon) ratios were then calculated. Only eccentric peak torque of knee flexors declined at 60h after the match in the control group. In the experimental group: a) isometric strength of knee extensors and knee flexors declined (P<0.05) at 12h (both limbs) and 36h (dominant limb only), b) eccentric and concentric peak torque of knee extensors and flexors declined (P<0.05) in both limbs for 36h at 60°/s and for 60h at 180°/s with eccentric peak torque of knee flexors demonstrating a greater (P<0.05) reduction than concentric peak torque, c) strength deterioration was greater (P<0.05) at 180°/s and in dominant limb, d) the functional ratio was more sensitive to match-induced fatigue demonstrating a more prolonged decline. Discriminant and regression analysis revealed that strength deterioration and recovery may be related to the amount of eccentric actions performed during the match and athletes' football-specific conditioning. Our data suggest that recovery kinetics of knee flexor and extensor strength after a football match demonstrate strength, limb and velocity specificity and may depend on match physical overload and players' physical conditioning level.
    • Reflections of science and medicine in two Frankenstein adaptations: Frankenstein (Whale 1931) and Mary Shelley’s Frankenstein (Branagh 1994)

      Pheasant-Kelly, Frances (John Hopkins University Press, 2019-01-19)
      Mary Shelley’s Frankenstein, a novel that centers on a scientist who collects organs and limbs from dead bodies to construct a new being, illustrates the complex, interwoven history of science and science fiction. The novel’s attention to the animation of assembled body parts reflects contemporaneous scientific interest in the reanimation of corpses by galvanism. In this article, I extend the science/science-fiction relationship developed in the novel by analyzing the visual differences between two of its subsequent film adaptations. Although scholars have extensively scrutinized and speculated about Shelley’s influences, limited consideration of contemporary scientific influences on later film versions exists.
    • Reflections on the Spiritual in Rothko

      Arya, Rina (Brill Academic Publishers, 2016-01-01)
      Much has been made of the metaphysical aspects of Mark Rothko’s abstract art, especially his classic works of the 1950s and the Seagram murals. The claims for the spirituality of Rothko’s work are by no means unique either to his art or to art in general. Indeed there are many people who probe cultural forms, such as art, in order to reflect on life and broader questions that can be classed as spiritual concerns. The “revelations” that Rothko’s classic works give rise to, as described by visitors and commentators alike, reflect this phenomenon, and, taking this view further, explain why secular institutions such as art galleries can be spaces for spiritual experience. Rothko presents an interesting case as his work can be understood as spiritual in a broadly numinous way with recourse to the concepts of the sublime and the mystical as well as reflecting aspects of his Jewish identity. The intention of this article is to discuss the different spiritual aspects of Rothko’s work, particularly of his later career, in order to argue for the coexistence of these different strands, as well as to show the progression of his ideas.
    • Reflexive epistemology in Jaws and Jurassic Park

      Geal, Robert; Hunter, IQ; Melia, Matthew (Bloomsbury Academic, 2020-09-17)
      Jaws is useful to scholarship not only because of its interesting narrative, aesthetic style, performances, and production history, but because it is amenable to academic interpretations from a number of different, potentially contradictory theoretical paradigms. These divergent analyses, in addition to offering their own accounts of how Jaws functions, also suggest that certain films relate to contested theoretical premises in inconsistent, ambiguous and overlapping ways. If rival academic paradigms are really so irreconcilable, as they so frequently claim, then a film which can be convincingly analysed by more than one rival approach suggests either some fundamental flaw in one of the paradigms, or that significant elements of the film respond to the competing paradigms’ very different conceptualisations of how film operates. Proponents of competing theories typically take the former approach, making the case that certain methodological errors invalidate the rival account. This chapter, however, is an exploration of the latter possibility. I argue that the filmmaking and spectatorial motivations over which competing theories claim an explanatory monopoly can be manipulated in intersecting and symbiotic ways in films like Jaws and another Spielberg film that stages horrific non-human violence against a backdrop of human duplicity, Jurassic Park (1993). The chapter outlines how existing scholarship conceptualises filmmaking and spectatorship, discussing rival claims about how Spielberg attempts to engender certain different spectatorial responses to Jaws. I then analyse the ways that the film manipulates ostensibly contradictory dramas associated with these rival scholarly theories, suggesting that Spielberg intuits diverse forms of spectatorial pleasure, and is able to create film which elicits multiple spectatorial responses. I finish by briefly comparing Jaws to Jurassic Park, in order to establish how Spielberg’s multiple dramas relate to potential technological determinants.
    • Repetition as the performative syndrome of dying

      Chukhrov, Keti (Performance Philosophy, 2019-02-01)
      In his Difference and Repetition Deleuze reveals an aporia: repetition is singular, solitary, it is torn away from any original or source; nevertheless it preserves a genetic tie with certain event to which it is a repetition. This solitariness of the repetition is not, however, confined to mere difference between the act of repetition and the repeated source that cancels the original just to differentiate two performative procedures. An act of repetition is solitary only when it evolves in specific time-regime, which even ontically diverges from the regular ontology of time. Deleuze calls such temporality “empty”, Nietzsche defines it as amor fati, Heidegger sees in it convergence of eternity and an instant. The stake in this case is a specific kind of repetitive regime which unfolds as the performative syndrome of ‘dying’ – a “repetition into death” (Deleuze) which paradoxically executes itself as performative plenitude. But who is the Subject undergoing such a syndrome and what should have happened to her/him so as to impose the regime of dying on any act of repetition?
    • Representing Trauma: Grief, Amnesia and Traumatic Memory in Nolan’s New Millennial Films’

      Furby, Jacqueline; Joy, Stuart; Pheasant-Kelly, Frances (Columbia University Press, 2015-07)
      A consistent preoccupation of Christopher Nolan’s films is the psychological afflictions of their male protagonists, who variously experience flashbacks, hallucinations, amnesia or hyper-vigilance, and whose signs of emotional damage often stem from grief or guilt. However, mental trauma is not only a trait of Nolan’s films but is discernible across a range of genres, with a noticeable surge of psychologically disordered male characters in films of the new millennium. Akin to their post-war noir predecessors, such representations of masculinity suggest that the unstable mental state of the twenty-first century protagonist may relate to the effects of a post-9/11 milieu. What makes Nolan’s oeuvre distinctive is that his new millennium films tend to be fore-grounded by this feature, to the extent that mental aberration governs the narrative, thereby implying such characterisation as an authorial tendency. As Will Brooker notes, ‘Nolan’s authorial interest in psychological drama, his recurring themes of fear and memory and his characteristic experiments with narrative have now become established traits’ (2012: 22).
    • Respiratory and immune response to maximal physical exertion following exposure to secondhand smoke in healthy adults

      Flouris, AD; Metsios, GS; Carrill, AE; Jamurtas, AZ; Stivaktakis, PD; Tzatzarakis, MN; Tsatsakis, AM; Koutedakis, Y; FAME Laboratory, Institute of Human Performance and Rehabilitation, Centre for Research and Technology, Thessaly, Greece. andreasflouris@gmail.com (Public Library of Science (PLoS), 2012-02-15)
      We assessed the cardiorespiratory and immune response to physical exertion following secondhand smoke (SHS) exposure through a randomized crossover experiment. Data were obtained from 16 (8 women) non-smoking adults during and following a maximal oxygen uptake cycling protocol administered at baseline and at 0-, 1-, and 3- hours following 1-hour of SHS set at bar/restaurant carbon monoxide levels. We found that SHS was associated with a 12% decrease in maximum power output, an 8.2% reduction in maximal oxygen consumption, a 6% increase in perceived exertion, and a 6.7% decrease in time to exhaustion (P<0.05). Moreover, at 0-hours almost all respiratory and immune variables measured were adversely affected (P<0.05). For instance, FEV 1 values at 0-hours dropped by 17.4%, while TNF-α increased by 90.1% (P<0.05). At 3-hours mean values of cotinine, perceived exertion and recovery systolic blood pressure in both sexes, IL4, TNF-α and IFN-γ in men, as well as FEV 1/FVC, percent predicted FEV 1, respiratory rate, and tidal volume in women remained different compared to baseline (P<0.05). It is concluded that a 1-hour of SHS at bar/restaurant levels adversely affects the cardiorespiratory and immune response to maximal physical exertion in healthy nonsmokers for at least three hours following SHS. © 2012 Flouris et al.
    • Restored and Remixed

      Brennand-Wood, Michael (2013-04-03)
      Restored and remixed is a title indicative of reinvention, the maintaining and reimagining of an idea via the employment of additive and subtractive process. Within music and textiles restoration, remixing and recycling are primal activities.Splicing, cutting, editing, patching, erasure refer in equal part to both sound and textile composition. My interest in the past revolves around its interpretation within the present; each successive generation reinterprets those ideas that have the closest affinity with their own time. The precursor to creativity is selection; the works in this exhibition are formed in part by the integration of exiting materials and objects. I'm interested in how we build an idea, via the choices we make, at what point the familiar evolves into something new and unexpected. My fascination with older, previously experienced materials is that they contain a cultural, evocative visual DNA that allows an echo of past lives to drift into the present.
    • Revisionist Vampires: Transcoding, Intertextuality and Neo-Victorianism in the Film Adaptations of Bram Stoker’s Dracula

      Pheasant-Kelly, Frances; Russell, Natalie; Poore, Benjamin (Rodopi, 2016)
      Neo-Victorian Villains is the first edited collection to examine the afterlives of such Victorian villains as Dracula, Svengali, Dorian Gray and Jekyll and Hyde, exploring their representation in neo-Victorian drama and fiction. In addition, Neo-Victorian Villains examines a number of supposedly villainous types, from the spirit medium and the femme fatale to the imperial ‘native’ and the ventriloquist, and traces their development from Victorian times today. Chapters analyse recent theatre, films and television – from Ripper Street to Marvel superhero movies – as well as classic Hollywood depictions of Victorian villains. In a wide-ranging opening chapter, Benjamin Poore assesses the legacy of nineteenth-century ideas of villains and villainy in the twentieth and twenty-first centuries.
    • Revisiting Dearing: Higher education and the construction of the 'belabored' self

      Apperley, Alan (Linköping University Electronic Press, 2014-10-01)
      Several authors have identified a 'therapeutic turn' in education in the UK, at all levels of the system. In this paper I focus on and develop this claim, specifically in relation to the Higher Education sector. I seek to do two things: First, I argue that the 'self' which is identified by commentators on the therapeutic turn needs to be reworked in the direction of McGee's idea of the 'belabored' self. This is because the therapeutic turn serves, I argue, a set of wider economic goals arising from the restructuring of capitalism which followed in the wake of the oil crisis of 1973 and the subsequent breakdown of the post-war (1939-1945) consensus around the purpose of public policy, of which education is an important part. Second, I revisit an important document in the history of the UK Higher Education sector: the National Committee of Inquiry Into Higher Education's 1997 report Higher Education In The Learning Society (known popularly as the Dearing Report, after its chair, Sir Ron Dearing). I argue that that the committee's ambition to bring about a learning society characterised by lifelong learning played an important and neglected part in bringing about the therapeutic turn in higher education in the UK. The project of creating a learning society characterised by lifelong learning, advocated by the Dearing Report, should properly be recognised as an exhortation to embark upon a lifetime of labouring upon the self.
    • Revolutionary Time and the Avant-Garde

      Roberts, John (Verso, 2015-08)
    • Risk-Aversion or Ethical Responsibility? Towards a New Research Ethics Paradigm

      Jacobs, Stephen; Apperley, Alan; University of Wolverhampton; University of Wolverhampton (Equinox, 2018-03-13)
      Ethics seems to be of increasing concern for researchers in Higher Education Institutes and funding bodies demand ever more transparent and robust ethics procedures. While we agree that an ethical approach to fieldwork in religion is critical, we take issue with the approach that ethics committees and reviews adopt in assessing the ethicality of proposed research projects. We identify that the approach to research ethics is informed by consequentialism – the consequences of actions, and Kantianism – the idea of duty. These two ethical paradigms are amenable to the prevailing audit culture of HE. We argue that these ethical paradigms, while might be apposite for bio-medical research, are not appropriate for fieldwork in religion. However, because ethics should be a crucial consideration for all research, it is necessary to identify a different approach to ethical issues arising in ethnographic research. We suggest that a virtue ethics approach – concerned with character – is much more consistent with the situated, relational and ongoing nature of ethnographic research.
    • Romantic Palingenesis, or History from the Ashes

      Colbert, Benjamin (Taylor & Francis, 2017-05-17)
      Palingenesis, or regeneration from decay, is variously invoked by eighteenth to early-nineteenth-century natural philosophy, psychology, mythography, and literature. Its currency derives from the Swiss-French scientist Charles Bonnet’s Palingénésie philosophique (1769), which conceives of natural history as repeated renewal after epochal catastrophes. Herder’s Über die seelenwanderung (1782) develops an idea of “natural palingenesis” as the internal “rebirth” of selfhood within memory despite physiological decay. Pierre-Simon Ballanche’s fragmentary magnum opus Essais de palingénésie sociale (1827-29) turned to political upheaval, locating the French Revolution within a process by which expiatory suffering gives birth to a new social order. Other writers looked back to alchemical experiments. Robert Southey reviewed these experiments in Omniana (1812) under the heading, “Spectral Flowers,” and still other writers explored the palingenetic properties of resurrected bodies and ghosts. In the light of this not altogether unified discourse, this paper will consider the more discontented, sceptical, at times satiric, strain within Shelley’s poetry, where beautiful idealisms of progressivist transformation do not entirely overcome the fact of death, decay, degeneration, and loss that is their substrata.