Transgression

This paper explores the ritual function of horror movie villains from multiple perspectives within ritual studies, with particular emphasis on the functionalist branch and Roy Rappaport’s definition that ritual is “the per- formance of more or less invariant sequences of formal acts and utterances not entirely encoded by performers.” 1 First, the paper considers the ways in which horror movie villains are hybrid collective representations in the sense of French sociologist Emile Durkheim and uncanny metaphors mobilised through media as described by Steven Schneider. Second, a Neo-functionalist analysis of ritual defines the reinforcement of binary categories as a fundamental aspect of rituals. We can elaborate the notion of the ritual binary to then demonstrate the multiple ways in which the horror movie villain transgresses these to fulfill his or her ritual role. Third, the paper elaborates six specific ways in which horror movie villains transgress social binaries, such as those of gender, the space of the body, and life and death. The function of horror villains as transgressors gives them a critical, ritual role in horror movies from a functionalist ritual perspective: to reconstitute binaries. Fourth, according to Carolyn Marvin and David Ingle it is the job of media to perform ritual re-presentation of the original blood sacrifice of soldiers who died for the nation, a blood sacrifice that replenishes the Durkheimian totem of the US flag. Horror villains could be perceived as one such media re-presentation. This section builds further evidence for horror villains as both collective representations and ritual transgressors. The paper concludes with a comparison of the fates of anti-heroes in two films from the new ultra-violent genre of horror with two recent Academy Award-winning films to understand how the villain as construction for ritualised punishment may be changing

Situated in the heart of Paris, France, Père-Lachaise is a magnificent monumental cemetery with more than two centuries of history. Every year 2.5 million people visit Père-Lachaise as if it was a big open air museum; every day hundreds of Parisians decide to go to Père-Lachaise for a walk, to meet other people and do open air activities. For many people who live in the same neighbourhood as the cemetery, it is a recognized place and a precious source of income. So, besides its principal function as a necropolis, the cemetery has become a unique and extremely complex place, where collective memory is connected to particular ideologies of resistance and transgression. It's a multifunctional space which allows and encourages practices and behaviors elsewhere unthinkable. For example, Père-Lachaise is one of the favourite places of eroticism in Paris. Transgression marks, in different forms and in a deep way, the daily life and perception of the world's most famous cemetery.

"Salò", or 120 minutes of "a fossil". On transgression and its negation in Pier Paolo Pasolini’s last film

The article is an attempt to analyse the problem of transgression in Pier Paolo Pasolini’s “Salò, or the 120 days of Sodom”. The author argues that although at the visual level the film appears as a perverse work of art, its message remains very conservative. “Salò”, being a loose adaptations of Sade’s “The 120 days of Sodom” is not (unlike the source text) praise of permanent transgression. Pasolini actually thematises the latter, showing (coldly) its abysmal dimension. That anti-transgressive overtone of the film (which was to be, first of all, the polemics with the tendencies observable in contemporary, permissive culture and its fascist, exclusive essence, which bothered the director) results in the absence of any non-normativity positively connoted. Its lack – surprising in the context of the Italian director’s artistic output – makes “Salò” (a supposedly “sick”, “appalling” and “nihilistic” work of art) appear as the most prudish in its message of all Pasolini’s films, which also seems to be a subversive defence of the “civilisation of life” (understood in a conservative way).

Artykuł stanowi próbę przyjrzenia się problemowi transgresji w filmie Piera Paola Pasoliniego „Salò, czyli 120 dni Sodomy”. Autor dowodzi, że chociaż film na płaszczyźnie wizualnej jawi się jako dzieło perwersyjne, to jednocześnie jego wymowa pozostaje bardzo zachowawcza. „Salò” będące luźną adaptacją „120 dni Sodmy” Sade’a, nie jest (w przeciwieństwie do powieściowego pierwowzoru) pochwałą permanentnej transgresji. Pasolini raczej tematyzuje tę ostatnią, pokazuje (na chłodno) jej infernalny wymiar. Ów „antytransgresyjny” wydźwięk filmu (mający być przede wszystkim polemiką z niepokojącymi dla reżysera tendencjami współczesnej, permisywnej kultury i jej „faszystowską”, ekskluzywną esencją) powoduje, że w analizowanym dziele nie znajdziemy żadnej, pozytywnie konotowanej, nienormatywności. Jej – zaskakujący na tle całej twórczości Włocha – brak sprawia, że „Salò” (utwór rzekomo „chory”, „bulwersujący” i „nihilistyczny”) okazuje się nie tylko najbardziej pruderyjnym w wymowie obrazem Pasoliniego, ale wydaje się również przewrotną obroną (konserwatywnie rozumianej) „cywilizacji życia”.

Recreational trespass or 'urban exploration' (UE) is the practice of researching, gaining access to and documenting forbidden, forgotten or otherwise off-limits places, including abandoned buildings , construction sites and infrastructure systems. Over the past two decades, a global subculture has coalesced around this activity. More recently, however, the practice has begun to transform along divergent lines. The aims of the present article are threefold: first, to bring UE and its emergent variants to the attention of a criminological audience; second, to interrogate increasingly spectacular visual representations of UE and attendant processes of commodification; and third, to introduce the rhizome as a way of thinking about urban social formations, their development and appropriation.

Defiance, independence and transgression for sale. On social rituals of creating and receiving the "difficult" art.

According to Marshall McLuhan: "Art is anything you can get away with". To what extent is this statement correct nowadays? Is there any space for true defiance, a niche left for the last outsiders and contestators in today's art world, or perefably, as Howard Becker would say - simultaneously functioning art worlds? Perhaps it is street art, as a kind of paradoxically rebelious "arier-garde" ( the notion developed by Teresa Pękala), that  still has the power to draw public attention and "seduce".
In this article, the author argues that ostensibly "difficult", rebellious and transgressive art is, as a matter of fact, a part of certain social rituals, (particularly media rituals). Even an open disapproval, a negative response from the public, to shocking forms or iconography, serves as a part of those rituals. In the described process of social creating the art celebrities and superstars (e.g. Damien Hirst), influential collectors and art dealers play a predominant role. It is significant that art critics tend to turn toward quasi-religious rhetoric, which helps them explicate meanings of the most "difficult" and shocking activities or artefacts.
The author also investigates some of the popular strategies applied and developed by contemporary artists. The strategy of being the most famous anonymous artist - Banksy's case - seems to be the most interesting.

Résumé : Le Caprice est une forme artistique qui, depuis son essor au cours du XVIème siècle, n’a cessé de ressurgir dans l’art de façon endémique et inopinée. Transcendant les siècles et dépassant les cloisonnements génériques, le Caprice, œuvre littéraire, musicale ou picturale, ne se reconnaît d’autre spécificité que de manifester l’humeur de son auteur. Derrière ces diversités, un Caprice unique peut-il se faire corps, mettant en évidence un genre capricieux, aussi mineur soit-il ? Par ailleurs, l’impact incontestable des Caprices de Goya dans la création ibérique place au cœur de la problématique l’existence d’un Caprice espagnol, qui affirmerait sa dette à l’égard du peintre aragonais. Mais est-il licite d’envisager le Caprice dans sa particularité hispanique, ou doit-on le considérer en tant qu’entité supranationale ? À moins que sa capacité à renverser les codes en vigueur, à subvertir les normes génériques, ne l’autorise même à se hisser au-dessus des limites des arts et, par-delà les discordances de surface, à imposer une forme de « supra-généricité », de transcendance du Caprice …

The works of Marguerite Duras show visible hybridity, broadly understood as a mixture of genres, correspondence of the arts, or intertextuality. Her texts reflect, par excellence, this tendency because they keep departing from classical forms. Consequently, the same text can be interpreted as a novel, screenplay, or film. This transgression seemingly results from the versatility of changing artistic interests of Duras, who, while writing, was fascinated by film-making and all possibilities of experimentation. The transgression is confirmed by a kind of polyphony of voices in her works, which makes them both extremely suggestive and open. A prime example of this technique is Le Navire Night. According to the concept of poetical-novelistic or cinematic writing, it can be seen as a ‘hybrid’ work. Therefore, Le Navire Night is sometimes read as a poem as understood by Henri Meschonnic, referring to the creativity of the author, especially in the field of language

A köztesség, a hibriditás, a heterogenitás Tolnai Ottó művészetének meghatározó kategóriái. A köztesség otthonossága a kezdetektől jellemző a szerző műveire műfaji és tematikus szinten egyaránt. Jelen tanulmány célja a köztes terek, identitások és határátlépések vizsgálata Tolnai Ottó 2018-ban megjelent Szeméremékszerek című regényében elsősorban Michel Foucault, Marc Augé, Andrei Pleşu és Gérard Genette vonatkozó elméleti munkái alapján. A kiválasztott mű több szempontból is kapcsolódik a köztesség képzetköréhez. Cselekménye a határzónában játszódik, de emellett az elbeszélői hangnak, identitásnak is jellemzője a köztesség. Az elbeszélő Seherezádéként mesél, kihallgatói szerint mellébeszél, e létállapot is köztes. A kihallgatásból pedig az derül ki, hogy a Tolnai-szöveguniverzum nem kényszeríthető bele előre meghatározott kategóriákba, rendszerekbe, hiszen azoknak mindig ellenáll, folyton kimozdul, egyfajta köztes állapotban létezik.

“To be born again,’ sang Gibreel Farishta tumbling from the heavens, ‘first you have to die. Ho ji! Ho ji! To land upon the bosomy earth, first one needs to fly. Tat-taa! Taka-thun! How to ever smile again, if first you won’t cry? How to win the darling’s love, mister, without a sigh? Baba, if you want to get born again …’ Just before dawn one winter’s morning, New Year’s Day or thereabouts, two real, full-grown, living men fell from a great height, twenty-nine thousand and two feet, towards the English Channel, without benefit of parachutes or wings, out of a clear sky.”

It seems that every culture shares a figure who "tricks" and transgresses rules even if at the same time he is a "Cultural Hero". Based on a classification of some basic characteristics common to all "tricksters", and despite the fact that contradiction and ambiguity are fundamental to their identity, this paper deals with the traces of the trickster in several Medieval Literature characters as Loki, Renart, Tristan, Merlin, Robin Hood and the anonymous mischievous deceivers of fabliaux and nouvelles.

Il semblerait que toutes les cultures ont en commun un personnage qui transgresse les lois sociales et abuse ses semblables, même s'il peut, à la fois, représenter un héros civilisateur. Malgré les contradictions et ambiguïtés qui déterminent la figure du trickster ou joueur des tours mythique, on partira d'une classification des composantes fondamentales de son identité pour examiner ses traces chez plusieurs personnages de la littérature médiévale tels que Loki, Renart, Tristan, Merlin et Robin Hood, ainsi que chez les mystificateurs anonymes des courts récits.

Cet article propose une réflexion sur le totem et tabou qui sont considérés comme sources du mal dans l'Etange destin de Wangrin. Après avoir montré les différentes manifestations du tabou dans le roman, l'article propose une typologie de totem comme on le constate dans le récit. Ainsi donc, on parvient à établir une distinction entre le totem individuel et celui du groupe. Pour finir, l'analyse essaye de montrer, contrairement au roman qui justifie l'échec de Wangrin par la transgression du tabou, que l'échec du héros s'explique plutôt par certaines violations de la doxa commune.

RESUMO

Este artigo tem como objetivo principal analisar e refletir sobre algumas características da lírica contemporânea, praticadas em Portugal e no Brasil. A partir de definições teóricas de pensadores como Giorgio Agamben e Octávio Paz a respeito da possível diferenciação entre o que se entende por modernismo e por movimento pós-moderno, busca-se, inicialmente, definir o empreendimento do Pós-Modernismo, bem como analisar sua relação com os movimentos modernistas, imediatamente anteriores a ele. Em seguida, analisam-se alguns poemas de autores como Ana Luisa Amaral e José Tolentino, entre os poetas portugueses, e Paulo Henriques Britto e Nuno Ramos, entre os artistas brasileiros, procurando tanto traços distintivos quanto de possíveis semelhanças. Podem-se ver rupturas que dialogam com a lírica que absorve e, ao mesmo tempo, desintegra a realidade do mundo, fazendo recombinações para a produção artística da poesia. Assim, nas vertentes de entendimento do que é poema moderno ou poema pós-moderno, encontra-se a escritura poética que se expressa desafiantemente com suas características.

RESUMEN

Este artículo tiene como objetivo analizar y reflexionar sobre algunas características de la poesía contemporánea, practicada en Portugal y em Brasil. A partir de las definiciones teóricas de pensadores como Giorgio Agamben y Octavio Paz sobre la posible diferenciación entre lo que se entiende por el modernismo y el movimiento post-moderno, trata de establecer inicialmente el desarrollo de la Postmodernidad y analizar su relación con los movimientos modernistas inmediatamente anteriores a la
misma. A continuación se analizan algunos poemas de autores como Ana Luisa Amaral y José Tolentino, entre los poetas portugueses, y Paulo Henriques Britto y Nuno Ramos, entre los artistas brasileños, en busca de los dos rasgos distintivos como posibles similitudes. Se puede ver que el diálogo se rompe con la letra que absorbe mientras se desintegra la realidad del mundo, causando recombinaciones a la producción artística de la poesía. Por lo tanto, en las áreas de comprensión de lo que es moderno o posmoderno poema es la escritura poética que se expresa
desafiante con sus características.

Serial Adventure Time (2010) osiągnął już miano kultowego, a podobnym tropem podążają dwie inne propozycje stacji Cartoon Network: Steven Universe (2014) oraz Over the Garden Wall. Seriale te można uznać za transgresywne na wielu poziomach. W przypadku Adventure Time uwagę przyciąga przede wszystkim struktura fabularna, a poszczególne odcinki podejmują takie tematy jak miłość czy strata bliskich. Steven Universe prezentuje całą gamę kobiecych bohaterek, jest też pierwszym serialem CN, którego autorką jest kobieta. Problematyka serialu skupia się przede wszystkim na nienormatywnej rodzinie. Over the Garden Wall przekracza granice przede wszystkim poprzez ciężar gatunkowy: emanuje nieustanną grozą i niepokojem. Wszystkie te seriale podejmują intertekstualną grę z widzem i wymagają od niego licznych kompetencji.
Podczas wystąpienia zostaną omówione poziomy transgresji w poszczególnych serialach, ich recepcja oraz znaczenie, jakie te seriale animowane mogą mieć dla kultury serialowej.

As a pre-study to "Foucault, Archaeology, Transgression" (and take-home exam) this paper explores the notion of Heterotopia in Foucault's oevre. It analyses its function in the beginning of The Order of Things as well as a conceptual challenge and post-Dialectic rejuvenation of the notion of the utopia. As such, heterotopias are intimately linked to to the, to my mind at any rate, very important notion of Trangsression and its political implications as a Post-Marxist approach to societal change.

Labelled as ‘new extreme’, 'Ett hål i mitt hjärta' ('A Hole in My Heart') (Moodysson, 2004) controversially straddles the boundaries of art and pornography, challenging the supposed eroticism of pornography with disgusting re-enactments and rethinkings of the violence of pornography. It is transgressive but not excessively so; it is recognizably both artistic and pornographic but hardly representative of either genre. In this article, I show that Paul Ardenne’s theory of extremity is a good means for understanding the play with boundaries that takes place in 'A Hole in My Heart' as well as in Jacques Derrida’s analysis of genre labels. Through an analysis of 'A Hole in My Heart’'s relation to art and  pornography, I propose an account that allows for multiple permutations of genre affiliation and suggest that it could advance thinking about new extreme films and genre more broadly.

This chapter makes a close reading of a short vignette in Eyrbyggja saga - the attempted forced marriage between the Swedish berserk Halli and Víga-Styrr's daughter Ásdis - exploring the ways that various norms and normative expectations are deliberately manipulated by the characters in question to further their own social goals in the narrative.

Peatlands constitute central habitats for the occurrence of wetland archaeological sites. Consisting of waterlogged organic soils, they also provide advantageous conditions for the preservation of organic materials. The economic utilisation of peatlands has been extensive and long-lasting in mire-rich Finland. Archaeologists urgently seek to develop viable techniques for detecting, monitoring, and studying peatland archaeological sites, before they are deteriorated. One option is to conduct fieldwalking at commercial peat extraction sites, which was opportunistically tested in the detection of Mesolithic sites at southern Lake Saimaa by the University of Helsinki in 2015. In this paper, the main observations and challenges of the survey are reviewed and suggestions for further testing are presented.

In the light of these developments, it can be useful to go back to the understanding, meaning, and analytical function of taboos. In this introduction, we will give a short summary of how to tackle the concept of ‘taboo‘ in an analytical way and how to relate it to transgression. In a second step, we will outline a programmatic approach to taboo and how to apply it in a functional perspective for the analysis of contemporary society, which is increasingly marked by debates on migration, integration policies and negotiations revolving around diversity and identity. In a final step, we will present an overview of the individual contributions.

Folgender Beitrag ist das Resultat einer Auseinandersetzung mit sozio-sowie religionssoziologischen Revolutionstheorien. Als Grundlage meiner Ausarbeitungen dienten mir (1) Jack A. Goldstone, Toward a fourth generation of revolutionary theory (2001), (2) Bruce Lincoln, Notes toward a theory of religion and revolution (1985), (3) Carlos Marroquin, Die Religionstheorie des Collège de Sociologie (2005) und (4) Wolfgang Eßbachs, Religionssoziologie I (2014). Innerhalb der amerikanischen Theoretisierung von Revolutionen, so Jack Goldstone 2001, haben erst im "letzten Jahrzehnt Kritiker struktureller Theorien die Notwendigkeit argumentiert, Führerschaft, Ideologie und Prozesse der Identifikation mit revolutionären Bewegungen als Schlüsselmomente in der Produktion von Revolution zu integrieren." 1 Mein Argument lautet, dass die Religionssoziologie über eigenständige Theorien und Methoden verfügt, die dazu beitragen, gerade diese Leerstellen nicht nur beschreibend, sondern auch erklärend zu füllen. Grundlegend geht es hierbei darum, die Rolle von kollektiven Stimmungen sowie sozialen Bedürfnissen im Rahmen von gesellschaftlichen Wandlungsprozessen in Rechnung zu stellen. Religion wird hierbei als jegliche Form von Ideensystemen konzeptionalisiert, die Handlungen von Gruppen legitimieren. I. Revolution, Religion und Soziologie: Obgleich das Verhältnis zwischen Revolution und Religion seit der Begründung der Soziologie als akademische Fachdisziplin Anfang des 20. Jh. reflektiert wurde, ist dieser Zusammenhang durch den Einfluss von linearen Modernisierungstheorien weitestgehend ins Hintertreffen geraten. Erst die Iranische Revolution 1977-1979 nötigte Wissenschaftler und Wissenschaftlerinnen wieder vermehrt dazu, die Auffassungen über den Verlauf der Geschichte der Moderne zu reformulieren. Bruce Lincoln konstatierte 1985 angesichts dieser Tatsache, dass die bislang verfügbaren Modelle zu Revolution und Religion nicht in der Lage waren, die Ereignisse im Iran adäquat zu erfassen, dass "die Möglichkeit, dass Religion eine wahrlich revolutionäre Rolle spielen kann […] in den letzten zwei Jahrzehnten selten in der gelehrten Literatur an die Oberfläche trat." 2 Lincoln setzt die Frage, welche Rolle Religion in 1 Goldstone Jack A., Toward a fourth generation of revolutionary theory, in: Annu. Rev. Polit. Sci. 2001/4, 139-87. 2 Lincoln Bruce (Hrsg.), Religion, Rebellion, Revolution: An interdisciplinary and cross-cultural collection of essays (Honk Kong 1985), S. 5.

Grivina V. Transgression versus counterculture in American novel between 1960-1990s (W.S. Burroughs, Ch. Palahniuk).
This article studies the origins of two terms, ‘counterculture’ and ‘transgressive literature’ based on the avant-garde tradition of American writers, 1960-1990s. We are looking into the difference between counterculture and transgression in order to understand, which of these two terms can be more productive in the literary studies today, and why. Investigation has a literary foundation in Beatniks, writers of cyberpunk and X Generation; for the analysis we’ll employ the theories of G.Bataille, T.Roszak. 
Key words: transgressive fiction, counterculture, beatniks, X Generation, Inner experience, limit-experience.

A number of high-profile corporate scandals were reported in Japan in 2011, and the accounting scandal of the Olympus Company was among them. During 2011, suspicions surfaced that Olympus had been engaging in improper accounting practices for over 20 years. The main aim of this case study is to delineate the scandal narrative while emphasising the performance of its main actors: The Olympus representatives, the main whistleblower (Michael Woodford), and all the media outlets that participated in the scandal (both mainstream, tabloid, and foreign). It was precisely the reluctance of the mainstream media to publish new of the corruption on the one hand, and the vigilance of the foreign and tabloid media to amplify it on the other, that contributed to the outcome of the scandal.

In this paper I would like to point out the role of japanese media while investigating, uncovering and mediating (not only political) scandals. I will mention, how scandal mediations in Japan reflect the japanese mediascape, journalistic norms and also the overall societal value system. While giving numerous examples of scandal mediations in the past, I will emphasize the role of non-elite, semi-mainstream tabloids (shúkanshi), representing the main platform for initiating the process of making (real or imagined) social defects known to japanese public. Finally, I will propose a structural model for scandal mediation process, consisting of transgression leak to media, scandal processing, transgression leak to public and the climax.

David Bowie has long confounded us with enigmatic acts of gender transgression, with gestures and personas drawn from Hollywood stars, literature and avant-garde art. That flame still burns brightly.

This is an open access article, and is available at:
http://theconversation.com/bowie-and-gender-transgression-what-a-drag-44569

In 1970, Michelangelo Antonioni took the viewers of Zabriskie Point into the Californian desert, where he—with sympathy—explored the much-observed avant-garde correlation between transgression and emancipation. Thirty-three years later, the viewers of Bruno Dumont's Twentynine Palms (2003) were taken on a similar journey, but now Antonioni's emancipatory optimism had been replaced by self-destructive violence. This article examines the relation between Dumont's film and the avant-garde, and it argues that the power of Twentynine Palms lies in attempting to force a way from transgression to emancipation—and in failing to reach this goal.

Mit Blick auf die Online-Kulturkriege der Neuen Rechten und sogenannte Alt-Right Nerdkulturen (meme wars, LOLitics, Manosphere, Pranksters) zeigt sich eine Verschmelzung von reaktionärer Politik, transgressiver Ästhetik und Populärkultur(en). In den Netzkulturen der Neuen Rechten werden konservative Transgression, Fake und Ambivalenz sowie Tabubrüche und Anti-Konformismus als neuer Mainstream angepriesen-anders gesagt, reaktionäre Ideologie wird als non-konforme Identitätspolitik transgressiv und sogar "humorvoll" verbreitet. Nun hat transgressive Ästhetik in autoritären (und auch völkischen) Subkulturen eine lange Tradition, während die Neuen Rechten versuchen, reaktionäre Konzepte heute erneut anschlussfähig zu machen. In diesem Hinblick analysiert der Beitrag die Ästhetik der Neuen Rechten und zeichnet ihr visuelles Amalgam und ihre kulturellen Anleihen (aus Antike, Romantik, Avantgarde, Popkultur u. a.) nach. Anschließend stellt sich die Frage nach kritischen Kunst-und Kulturpraktiken im 21. Jahrhundert, die mittels subversiver Affirmation-jenseits von neo-konservativen nihilistischen Tendenzen, simplem Relativismus oder Post-Ironie-das identitäre Image unterwandern können.

Panel: DIFFERENTIELLE WAHRHEITEN. TRANSGRESSIVE ÄSTHETIKEN JENSEITS DER IDENTITÄTSLOGIK
mit Jörg Sternagel (Chair), Sofia Bempeza, Christoph Brunner, Ines Kleesattel

watch on-line: https://www.youtube.com/watch?v=ZJgt-QTTZ40

This chapter begins with the question: Is remix a monster, and digital humanities the means through which it is destined to bring down the old-fashioned, exclusionary, and hierarchical modes of humanities past? Using the metaphor of Frankenstein and his creature, I will stitch together theories of monstrosity and transgression from both literary and media studies to explore this question. The answer, I argue, is that the transgressive potential of remix and the digital humanities lies less in the form of these disciplines, and more in their practice: how they are allowed to intersect, evolve, and escape their traditional (anti)humanist foundations.

This paper investigates the relationship between self-esteem, body-image and sexual desire within gay men. It looks at the gay male body as a site of ‘performativity’, the body ‘citationality’ quoting the ‘norms’ of gay society in order not to be labelled ‘other.’ If you do not fit the ‘ideal’ of what a gay male should look like this can lead gay men to transgress taboos to achieve their idealised body desires, a trans(a)gression against the self through the practicing of unsafe sex to obtain possession of an ideal body.

Anna Livia Plurabelle in Polish

The title of Fritz Senn’s contribution to Joycean studies ALP Deutsch: „ob überhaupt möglich? " raises a question about Anna Livia Plurabelle in Polish.
Very little attention was devoted to Polish versions of ALP. Even Around
James Joyce edited by K. Bazamik and F. Fordham (1999) does not make an exception. Being dedicated to Maciej Słomczyński, the volume of essays undermines other translators.
It was Jerzy Strzetelski, not Maciej Słomczyński, who made the first attempt to render Anna Livia Plurabelle in Polish. He translated several fragments of Joyce’s
work (196.1-197.04, 198.9-14, 206.29-32, 206.35-207.11, 215.31-216.05),
and „Tworczość” (Creativity) published them in 1959. Anna Livia Plurabelle, on the whole, appeared in Polish only in 1985. It is, however, a kind of transgression, for Słomczyński goes beyond limits of translation. The layout of his book takes the form of a letter. The graphic design by Małgorzata Macharska-Siwulak abounds
in allusions to some parts of human bodies making an impression that Anna Livia Plurabelle belongs to erotica. The main reason for this strategy was undoubtedly marketing. The entire edition (3283 copies) was sold out immediately.

Transgressive fiction or victory of norms? Virginie Despentes' first novel /Baise-moi/ has been presented as both, marked by transgression (Jordan 2002 : 121) and by profound conservatism (Fayard 2006 : 68). The present article proposes an analysis of the transgressive in the novel by taking the friendship between its two female protagonists into particular consideration.

The focus of action in the East Anglian Croxton Play of the Sacrament is a consecrated communion wafer, the host. Aristorius, a Christian merchant, steals a consecrated host from a church. He sells it to a group of Jewish merchants (who instigated the theft) as they wish to use the host to disprove the dogma of transubstantiation. The Jewish characters subject the host to several tests which parallel the Passion in various ways. In the process, one of the Jewish characters (Jonathas) is injured. A vision of the Christ-child appears and addresses them. They repent their sins and Jonathas is miraculously healed. As a result, they convert to Christianity. Aristorius confesses his sacrilegious theft and the host is returned to its rightful place in the local church: a happy ending for all, in medieval Christian terms.
This article argues that in the Croxton Play of the Sacrament, the Christian playwright enacts a ritual of transgression (and thus of impurity) that neutralises the threat of religious heterodoxy. Making use of a dramatic representation of imaginary Jewish characters, the playwright ponders the nature of the doctrine of transubstantiation, and possible Christian doubts and anxieties concerning it at a safe remove. The Christian thus uses a representation of a Jewish Other to consider the divine Other, thereby crossing social and spiritual boundaries, while Christ may also be perceived as reaching out to the human Other by transgressing limits.

Houses feature prominently in Helen Oyeyemi's novels, The Opposite House and White Is for Witching. I describe the connection between the Greco-Roman Underworld and the Yorùbá Otherworld in Oyeyemi's texts as a " liminal intersection " , one in which Gothic and supernatural metaphors from the Yorùbá culture are syncretised. The Gothic tropes of the House collide with Oyeyemi's revisioning of the Yorùbá pantheon and Otherworld. Key figures and symbols from Greco-Roman folklore, Yorùbá mythology and European fairytales are either represented by characters in Oyeyemi's novels or are present as metaphors. The problematic postcolonial Gothic relationship between competing cultural imperatives and authorities in The Opposite House and White is For Witching takes place in these liminal intersections. I connect this struggle to the idea of transgression as agency. Pursuant to this, this article interrogates the postcolonial Gothic house as a trope in the two studied texts and argues that it is a site for the enactment of liminal and hybrid transgressions as agency through the deployment of the metaphors of doubling and that of the temporal slippage between multiple realities and the findings elucidate the ways in which the House as a gateway to the Otherworld may be a site for empowerment and decolonising through transgression.

The lecture aims to illustrate that the most groundbreaking artworks—from painting to film and comics—have triggered an upsurge in appropriation. Vice versa it may be claimed that novel artworks are created only through enduring repetition. Within the transgression of light and color this creative dialectic acquires its unique function—as both a mediator of information and as an expression of a specific, creative way of thinking in modern art.