Julia Domna

Exclusion as a form of control is contingent upon the belief what you are excluding is the problem. Usually however, what is being excluded, like a criminal, is the symptom of a much bigger problem (a failing education system, poverty…etc). Additionally, the idea that a human can be “fixed” in a psychiatric facility is also contingent on there being one source and one problem that can be identified and dealt with. Humans are complex, and we can’t assume to know how effecting one part will effect

Though the present is an outcome of past contemplations and actions, Pinter does not reveal the past as he wants the audience to think about the various possible ways in which past can influence the present. Furthermore by leaving the interpretations open to the audience, Pinter tries to portray that historical archives as storehouses of narratives of the past, cannot be fully relied upon, as these are narratives written in accordance to the dictates of those in power and as such are biased in their

In Rabelais and His World Bakhtin develops the concept of canivalesque. The narrative that resembles the carnival in spirit and mode, he designates or describes as carnivalesque. The rise of the novel, he maintains, can be traced back to the design of a carnival. As Guerin and others write : Out of the primordial roots of the carnival tradition in folk culture… arises the many-voiced novels of the twentieth century…Just as public ritual of carnival inverts values in order to question them, so may

Julia Kristeva is a Bulgarian-French philosopher, psychoanalyst and feminist writer. Her work on abjection gives an engaging insight into human culture in terms of it’s relationship to larger overarching power structures. In Powers of Horror, Kristeva argues that the oppression of woman in patriarchal societies is constructed through fear of the abject. “The tremendous forcing that consists in subordinating maternal power (whether historical of phantasmic, natural or reproductive.)” (Kristeva, 1982

Julie and Julia: My Year of Cooking Dangerously Summary Julie Powell, the author of her own memoir, was a distraught secretary working at a bureaucratic organization led primarily by Republicans in order to build a memorial to the terrorist attack on September 11th, 2001. To further this misery, she was told that she may be unable to have children in the future. After hearing this news, she and her husband Eric went to her mother’s house in Texas where Powell found an old copy of Julia Child’s Mastering

The horror genre has many lessons to teach us as an audience although being the genre most connected with that of ridiculousness. It is regularly associated with the reaction it seeks from its audience; both emotional and physical. In cinema success is measured by terrifying chills, bloody deaths and the volume of the audiences scream. The appeal of horror narrative in literature, film and theatre lies in the pleasures it associates with fear, suspense and terror; no matter what it is trying to

creativity and power, that inclusive space where we recover ourselves.” (Hooks, 1990, p.343) To instead use this site of marginality as a vantage point to gain a formative viewpoint and destabilise the deep structures of power and cultural domination. Julia Kristeva’s Powers of Horror is an essay

Erin Brockovich (2000) is a film written by Susannah Grant and directed by Steven Soderbergh. Based on a successful lawsuit by an environmental lawyer of the same name against the Pacific Gas and Electric Company (PG&E) of California, this film covers a wide range of popular cultural and sociological themes. It addresses issues such as lack of formal training and opportunity to capable individuals, stereotyping of women and the struggle for justice which are some of the most prevalent sociological

The Ocular & Spectatorship Vision and the act of looking is an important and recurring theme in many horror films. In early gothic literature, such as in Guy de Maupassant 's Le Horla, the author presents vision as definitive and universal proof and stresses the importance of seeing as well as the act of showing gore. As a society, we are routinely told ‘seeing is believing ' in the wake of any paranormal or supernatural phenomena, placing weight on the tangible. However, as science and technology

The “uncanny”, a Freudian term, is used to describe a situation or feeling that feels familiar and foreign at the same time. Through the writings and ideas of Ernst Jentech, and Sigmund Freud, it is defined. Between them the uncanny is described as "...intellectual uncertainty; so that the uncanny would always, as it were, be something one does not know one’s way about in. The better oriented in his environment a person is, the less readily will he get the impression of something uncanny in regard