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The soundtrack for film Winter Sleep includes only five minutes of music: the opening passage of Schubert’s A-major Piano Sonata no. 20, Andantino, repeated in moments suggesting the main character’s Bildung and introspection. As the film progresses, this musical signal takes on increased narrative weight; its repetition adheres to a growing sense of the damage this character’s privilege enacts on his wife and on the families who owe him rent. Drawing on Irina Rajewsky’s recent work on transmedial movement, this paper argues for repetition and accumulation as narrative strategies across media, while pointing out the material associativity unique to music – in this case a Schubert passage that, in its broken-record replication, exposes the cost of traditional European bourgeois values in a Turkish household as patriarchal as it is ‘western’. Here music does not intensify an emotional-narrative arc but adds a critical dimension to dialogue and visual storytelling.

In: Music, Narrative and the Moving Image


The chapter deals with the motif of substitution in the play, Before the play, the child Astyanax has been saved by the substitution of another child to be sacrificed in his place. During the play the major characters attempt to resolve conflicts by offering themselves as substitutes or other people as substitutes for themselves. The chapter integrates the theme of substitution within a larger context of bargaining, evoked by the vocabulary of purchase, and set against an impossible ideal of disinterested magnanimity and of retribution.

In: Racine's Andromaque
In: Conscious Theatre Practice
In: Tragic Agency in Classical Drama from Aeschylus to Voltaire


In her Afterword, ‘Beyond Bridgerton: Blackness and Neo-Victoriana’, Jennifer DeVere Brody places her own career as a Black academic in Victorian studies in dialogue with intellectual shifts in and around the field, specifically with regard to its longstanding hegemonic institutional whiteness. Drawing on selected aspects of her previous work, Brody thus situates her own (academic) biography and positionality within the tradition of Black neo-Victorian texts and epistemologies.

In: Black Neo-Victoriana
In: Time, Consciousness and Writing
In: The Transformations of Tragedy
In: Tragic Agency in Classical Drama from Aeschylus to Voltaire
In: Miguel Venegas and the Earliest Jesuit Theater
In: The Alchemical Actor