1,721,022 research outputs found
Vampirism, Victorianism and Collage in Guy Maddin's Dracula - Pages from a Virgin's Diary
No full textVampirism, Victorianism and Collage in Guy Maddin's Dracula - Pages from a Virgin's Diary
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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Monstrous media/spectral subjects : imaging gothic from the nineteenth century to the present
No full textPerforming Fabulous Monsters: Re-inventing the Gothic Personae in Bizarre Magic
No full textBizarre magick is a form of performance magic that favours theatrical character, storytelling, overt allegory, symbolism and metaphor, and themes of the supernatural, fantastic, amazing and weird. While the form has its roots in Victorian stage magic, it realised itself as a movement in the 1970s through a counter-cultural reaction against the big boxes and card flourishes of a disenchanted, contemporary, mainstream stage magic. Bizarre magicians sought to re-enchant performance magic with the mysterious and the spiritual, (re)discovering meaning through storytelling and theatrical character.
This chapter examines the adoption of popular Gothic representations in the stage persona of a number of key figures in bizarre magick. In performance, bizarre magick presents a complex series of meta-narratives within the form, often supplanting the literary in favour of popular Gothic (re)imaginings. These, often twice-removed, transformations/translations of classic and contemporary Gothic form and fiction are considered in the context of the bizarre performer's engagement, through both performance and theoretical writing, with the fabulously monstrous
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