Journal articles on the topic 'Ivory bridge'

As academic communities across the globe are increasingly encouraged to share their knowledge outside the ivory towers of academia, it becomes ever more important to create a bridge that crosses continents and disciplinary boundaries. Sitting, as it does, at the nexus between science communication practice and research, JCOM has a vital role to play as just such a knowledge sharing platform.

Abstract The lifespans of bridges have become very short in Guinea. They partially collapse, until they fall completely. To understand this scourge and provide some answers, we have conducted more than fifty surveys among neighboring populations and certain professional services (those in charge of studies: climatic; hydrological; agricultural and public works). One problem emerges in common: soil degradation. Lola (border town with the Ivory Coast) is said to have cut itself off from the rest of Guinea after heavy rain. Because? The bridge that linked it to the rest of the country would have collapsed after a complete degradation of its support: the ground. In Kérouané (another city in Guinea), landslides are permanent and cause certain bridges to collapse. The results of our surveys show that with the alternation of the seasons, these soils (lacking scientific and professional studies) undergo degradation and lose their initial states of stability. Our research work and their results support the need for a basic geotechnical study before the start of any project. This could prevent any probable socio-economic impact caused by soil degradation in the regions.

Purpose One of the central requirements of research is that the knowledge acquired should not only be academically rigorous, but also socially useful. If an article fails to address practical relevance, the audience will question its value and respond with “so what?”. Due to recent criticism regarding the practical relevance of innovation research, the purpose of this paper is to examine whether a similar “ivory divide” prevails in research on innovation in family businesses. More specifically, this paper investigates to what extent and at what depth researchers generate practical implications for innovation in family businesses. Furthermore, different strategies to bridge the “ivory divide” are discussed. Design/methodology/approach This literature review systematically analyses the findings of 50 journal articles focusing on innovation in family businesses published between 2004 and 2015. Based on this, the articles are classified according to their degree of practical relevance. Findings Although the findings unanimously show the relevance of innovation for strengthening business’s performance, only a minority of articles offer in-depth implications for practitioners in terms of practical guidance for action and application-oriented recommendations. A number of reasons for the development of this “ivory divide” are discussed and suggestions for how the connection between research and practice could be strengthened are provided. Originality/value This paper attempts to provide an impulse toward more practically oriented family business research in order to increase its interestingness to academics and its value to practitioners.

Ivorian authorities, for years, are employing various strategies as part of reforms to ensure universal education in Ivory Coast (Cote d’Ivoire). In this regard, great efforts are done each year through public funding and partnership development support to face the challenge of Education for All whose term of the implementation was 2015. The objective of this paper is to investigate the various facets of Education for All in Ivory Coast and the implications of the implementation of compulsory education, which is the new challenge of Ivorian education system. How to bridge the gap of schooling? What measures would be effective to ensure 100% enrolment as multiple factors constitution obstacle to the achievement of the Millennium Development Goals (MDGs). Using qualitative methods based on relevant data from books, articles and others secondary sources from reports as well as other information from the World Wide Web, this study examined the current issues of Education for All in the post-crisis context. Although immense sacrifices have been done to Education for All, persistent factors unlikely still limit its implementation. The success of the compulsory education is possible whether the State invests more resources in Education and creates well conditions for access to education in all areas of the country, paying more attention to marginalized groups such as children with disadvantaged social backgrounds and girls. In conclusion part of this study possible solutions and recommendations that can overcome the persistent issues of Education for All are provided for higher educational policy prospects.

In the late fifteenth and early sixteenth centuries, artists in West Africa made sophisticated ivory carvings specifically for the early Portuguese navigators and their patrons. In researching the history of the ivories, the records of eighteenth-century English antiquarians are a neglected yet important source of information. Such sources help to bridge the gap between the earliest references to Afro-Portuguese ivories in Portuguese customs records (as well as the inventories of royal and princely treasuries of the late Renaissance) and their re-appearance in nineteenth-century museum registers and the collections of private individuals.Especially valuable in this regard are the eighteenth-century minutes of the Society of Antiquaries of London, which enable us to trace the history of several African ivories associated with Fellows of the Society – in particular, Richard Rawlinson, Martin Folkes, Sir Hans Sloane, George Vertue and George Allan. In this article, the author reassesses two African ivories, an oliphant and a saltcellar, with specific reference to the Minutes of the Society of Antiquaries of London, shedding new light on the history of these beautiful objects.

James Hutton (1726-1797) was born and bred in Edinburgh. Having decided to be a farmer, he went to Norfolk aged twenty-four to learn new methods of husbandry. From that base, he travelled widely and developed an interest in geology. In 1767 he left his Berwickshire farm and returned to Edinburgh, where he became a valued member of the remarkable group of men who founded the Royal Society of Edinburgh and made the city an unrivalled intellectual centre of the age.Edinburgh was a capital without the distractions of king and parliament. When the Industrial Revolution began, many disciplines were already represented by men of world-renown who knew each other—many, indeed, were related. There were still no boundaries between narrowly defined disciplines; there was shared interest in all knowledge.Geological structure had constricted Edinburgh's growth, keeping the compact Old Town on its ancient defensive ridge. The North Bridge, completed soon after Hutton's return to Edinburgh, made possible the planned New Town, in dramatic architectural and intellectual contrast to the mediaeval city. The beauty and interest of Edinburgh's scenery is the result of an active geological past. Consequently, in a small and accessible space, rocks of different character are exposed in a natural geological laboratory.James Hutton did not live in an ivory tower. War, rebellion, and revolution, both political and industrial, all had their influence. In a turbulent world, a decade of peace (1783-1793) was another factor making possible Hutton's great contribution to modern geology.

Among terminally ill figures of speech, the cliché of rosy cheeks, ruby lips, and snow-white skin may be counted downright deceased. Even in medieval and Renaissance love poetry, roses in the cheeks, lips like cherries or rubies, skin like ivory, lilies, or snow were stiffly conventional: freshness of complexion prompted no freshness of metaphor. The mistress's red-and-white face was relentlessly emblazoned, “red and white” becoming a short-hand notation for feminine beauty: “With lilies white / And roses bright / Doth strive thy colour fair” (Wyatt 65); “Fair is my love … / A lily pale, with damask dye to grace her” (Passionate Pilgrim no. 7); “Thou art not fair for all thy red and white” (Campion 264). The mistress in Spenser's Amoretti has “ruddy cheekes” and “snowy browes” (no. 64); the bride in his Epithalamion is a vision in red and white—cheeks like sun-reddened apples, lips like cherries, forehead like ivory, “breast like to a bowle of creame uncrudded, / Her paps lyke lyllies budded, / Her snowie necke”; when she blushes, “the red roses flush up in her cheekes, / and the pure snow with goodly vermill [vermillion] stayne, / Like crimsin dyde” (Il. 172-7, 226-8).

In Côte d'Ivoire, the marketing of edible frogs, although still an informal activity, constitutes a source of income for the population. In fact, the survey conducted between February and June 2020 in the markets of the communes of Yopougon, Abobo and Port-Bouët in the district of Abidjan recorded a total of 60 sellers, including 32 in Yopougon 16 in Abobo and 12 in Port-Bouët. The species sold is Hoplobatrachus occipitalis. In this activity, single women represent 54% against 33% for brides and 13% for widows. However, 60% of sales women find this activity unprofitable against 40% who find it profitable. Whatever the municipality, the Yacouba (33%) and Guéré (27%) peoples, from the west of the country who traditionally eat frogs, dominate the market for the sale of these animals.

The two ivory tablets in Paris and London, dating from late antiquity and forming parts of one diptych (Plates 1, 2), have been convincingly placed in their stylistic setting by the scholar to whom this article is dedicated. With other works in ivory from about A.D. 400 and with the Rothschild cameo, they form a ‘classicistic’ group, some manufactured in Rome, some in Milan. The cameo probably refers to the marriage in A.D. 398 of the young Emperor Honorius to Maria, daughter of Stilicho. We may assume that the diptych under consideration here also has reference to an aristocratic wedding, although its iconography is quite different. It shows not the portrait of a bridal pair, but two female figures, hitherto regarded as pagan priestesses. It is not these figures, but the tabulae ansatae at their heads that give support to the hypothesis that the diptych was made on the occasion of a marriage between the two families named on the tablets, the Symmachi and the Nicomachi. Matrimonial unions between members of the pagan aristocracy in officially Christian Rome may not only be presumed, but in the case of the Nicomachi and Symmachi may be actually shown to have happened. The following observations would seem to provide appropriate reinforcement for reference to a wedding on iconographic grounds.

Abstract Is there an academic–policy divide, and does that gap need to be bridged? For decades, International Relations (IR) scholars have reflected on their roles and responsibilities towards the ‘real world’, while policy-makers have often critiqued the detachment of academic research. In response, there have been increased calls for academics to descend from their ‘ivory tower’. However, the articles in this 100th anniversary special issue of International Affairs interrogate this so-called theory–policy divide and problematize the exchange of knowledge between academics and practitioners, highlighting the colonial underpinnings of their historical entanglements. In this introductory article we bring together the core arguments of the special issue contributions to delineate three prominent dynamics in the academic–practitioner nexus: the role of academia as a supplier of knowledge for colonial policies; the influence of imperial practice and policy-makers in shaping IR and academic knowledge production; and the contestation from academics and/or practitioners against racial hierarchies in knowledge production and policy-making. Confronting the exclusions, amnesias and denials of colonialism in the theory and practice of International Relations is the necessary first step in any process of repair towards a more just and viable politics.

ABSTRACTGeographically separated by only 64 km, the Siberian Yupik-speaking communities of Gambell and Novoye Chaplino have endured a politically mandated separation of 40 years. During this period these two small, native comm unities have experienced enormous changes, changes often engendered by the social and economic policies of their nation states. The abandonment of small, native communities in Chukotka under the Soviet policy of ‘settlements without prospects’, the forced resettlement of Chaplino to Novoye Chaplino, and the reorganization of cooperatives into state farms have all had serious detrimental consequences for the organization of subsistence activities in this community. Gambell—with very little economic infrastructure, high unemployment, increased social problems, and some federaland state-mandated management of their natural resources — has managed to maintain high levels of subsistence production. The native language is spoken by youngsters in Gambell but not in Novoye Chaplino. Other important cultural features such as sharing, bride service, and ivory carving have been maintained in Gambell but have been lost in Novoye Chaplino. Contacts between the two communities under the recent policy of glasnost' may bring a revival of these practices back to Novoye Chaplino.

Biofuel production in Sub-Saharan Africa is an important part of local low-income countries. Among many plant species, Jatropha curcas gained popularity in this area, as it can be grown even where crops of agricultural interest cannot. A natural African pest of J. curcas is the Aphthona cookei species group, for which future climatic suitability is predicted to favor areas of co-occurrence. In this research, we identify the possible climatic corridors in which the colonization of J. curcas crops may occur through a circuit theory-based landscape connectivity software at a country scale. Additionally, we use the standardized connectivity change index to predict possible variations in future scenarios. Starting from ecological niche models calibrated on current and 2050 conditions (two different RCP scenarios), we found several countries currently showing high connectivity. Ghana, Zambia and Ivory Coast host both high connectivity and a high number of J. curcas cultivations, which is also predicted to increase in the future. On the other side, Burundi and Rwanda reported a future increase of connectivity, possibly acting as “connectivity bridges” among neighboring countries. Considering the economic relevance of the topic analyzed, our spatially explicit predictions can support stakeholders and policymakers at a country scale in informed territorial management.

The acronym SAPHO (synovitis, acne, pustulosis, hyperostosis, and osteitis) includes diseases with similar osteoarticular manifestations and skin conditions. Making this diagnosis is not always obvious, especially when the clinical presentation does not fit the typical pattern of the disease or it occurs in a particular field. We described three cases where the diagnosis was difficult. A 46 year-old woman presented with cervical pain. The cervical X-ray showed the aspect of an ivory C5 vertebra. The patient had, however, preserved general condition, no signs of underlying neoplasia, nor other joint complaints. Blood analysis was normal. Tomography did not find any suspect lesion but showed sclerosis and hyperostosis of the manubrium. Scintigraphy showed the characteristic “bullhead” appearance. A 61-year-old woman had thoracic and lumbar pain. MRI showed spondylodiscitis in D3-D4, D4-D5, D5-D6, D6-D7, and L1-L2 with paraspinal soft tissue involvement, simulating infectious spondylodiscitis. Infectious investigations and discovertebral biopsy performed twice were negative. SAPHO syndrome was then suspected. Bone scintigraphy showed uptake in the chondrosternal articulations and D4 to D7 vertebrae. The diagnosis of SAPHO was established. The third case was a 46-year-old man with a lung adenocarcinoma. Staging for metastatic disease, a TAP tomography was performed and showed osteosclerosis of D8 to D12 and intra-articular bridges in the sacroiliac joints. MRI and scintigraphy eliminated malignancy and confirmed the diagnosis of SAPHO. In our cases, imaging findings could facilitate differentiating SAPHO syndrome from other diseases.

Belis dalam perkawinan masyarakat lamaholot berupa gading gajah yang diberikan oleh pihak calon mempelai laki-laki kepada keluarga calon mempelai perempuan menjadi suatu bentuk penghargaan yang luar biasa kepada perempuan lamaholot. Aturan adat lamaholot, jika laki-laki beserta keluarganya telah menunaikan, memberikan atau mengantarkan belis ke kediaman orang tua perempuan, dan dari keluarga pihak perempuan pun telah memberikan balasan dari belis tersebut berupa kain sutra, lipa (sarung), kwatek (kain tenun), pakaian, gelang, kalung dan emas yang diisi penuh dalam lemari, maka mereka telah dinyatakan sah secara adat menjadi pasangan suami istri, meskipun belum terjadi akad nikah secara Islam melalui wali dari pihak perempuan. Belis termasuk dalam kategori hadiah, meskipun dalam aturan adat lamaholot, belis merupakan syarat pemberian mutlak yang harus ditunaikan seorang laki-laki jika ingin menikahi perempuan lamaholot, tapi berdasarkan syariat Islam, belis bukanlah merupakan ketentuan wajib atau syarat mutlak jika ingin melakukan proses pernikahan. Adapun hibah dalam syariat Islam hukumnya adalah sunnah.Belis in the marriage of lamaholot community is in the form of elephant ivory provided by the prospective bridegroom to the family of the prospective bride to be a form of extraordinary appreciation to the lamaholot female. The lamaholot customary rules, when a man and his family have fulfilled, provided or delivered belis to the residence of a woman's parents, and from the woman’s family has offered a reply from the belis in the forms of silk cloth, lipa (sarong), kwatek (woven cloth), clothes, bracelets, necklaces and gold filled in the closet, they have been legally declared customary to become a husband and a wife, even though the marriage contract has not yet taken place through a female guardian. Second, belis belongs to the prize category, although in lamaholot customary rules, belis is an absolute requirement that a man must fulfill when he wishes to marry a lamaholot woman, yet based on the Islamic law, belis is not a mandatory requirement or an absolute requirement when wishing to carry out the marriage process. As for hibah in Islamic law it is sunnah.

Autistic people, and other community stakeholders, are gaining increasing recognition as valuable contributors to autism research, resulting in a growing corpus of participatory autism research. Yet, we know little about the ways in which stakeholders practice and experience community engagement in autism research. In this study, we interviewed 20 stakeholders (academics, autistic people, family members/careers, research students, and service providers) regarding their experiences of community engagement in Australian autism research. Through reflexive thematic analysis of interview data, we generated four themes. First, our participants perceived academia as an “ivory tower,” disconnected from community members’ lives and priorities. Second, our participants identified that different stakeholders tended to hold different roles within their research projects: academics typically retained power and control, while community members’ roles tended toward tokenism. Third, our participants spoke of the need to “bridge the gap” between academia and the community, highlighting communication, accessibility, and planning as key to conducting effective participatory research. Lastly, participants emphasized the changing nature of autism research, describing participatory research as “the way of the future.” Our findings reflect both the progress achieved to date, and the challenges that lie ahead, as the field advances toward genuine co-production of autism research.

This article argues that poetry is an act of meditation, improvisation and exploration, and urgency is what guides the writer into (and through) the poetic journey. In the light of this, this article illustrates the features of a workshop that was designed to guide social and human scientists in the delicate process of turning raw data into poems. One of the chief objectives of the decolonial project is to bridge the gap between Westernised academia (“The Ivory Tower”) and communities where research is conducted, and this article aims to show how poetic inquiry is a fitting research methodology that can serve this purpose. Through a description of the workshop process and specific poems that emerged from it, it suggests that poetic inquiry is an innovative and effective research methodology for social and human scientists engaged in the transformation of conventional knowledge production.

This article concerns the comparison of data collected in different high Arctic seas by the same team, mainly same platform (from the bridge of icebreaking RV Poarstern), and thus the same methodology. Drastic differences were noted, from high numbers in the Bering Strait and Chukchi Sea on the one hand, and Fram Strait and Barents Sea on the other. In contrast, abundance, mainly of seabirds, was very low in the Arctic Basin. Most numerous bird species varied in different areas, mainly fulmar, kittiwake, Brünnich’s guillemot and locally ivory gull. Biodiversity was low, as reflected by low numbers of species, a few of them representing the vast majority in numbers of individuals: between 85% and 95% of the total. Cetaceans were close to absent from the High Arctic Ocean, the Wandel Sea off North Greenland and the shallow seas along the North-East Passage; pinnipeds and polar bear were tallied on the Outer Marginal Zone OMIZ, basically absent in the Closed Pack Ice Zone CPI.

Abstract Objectives To discuss the added value of locally developed health policies and strategies in the context of Global Sustainable Development Goals. To discuss the capabilities, opportunities and limitations of public health institutes in low- and middle-income countries in contributing to health policies and strategies in their countries vis-à-vis the global policies, promoted by multilateral and UN institutions. To formulate recommendations for strengthening the role of local health research institutions in low- and middle-income countries in formulating evidence-based policies and strategies for achieving Sustainable Development Goals, in their countries and beyond their borders. Five panellists from public health and research institutes in Bangladesh, Laos, DR Congo, Uganda and Haiti, and one representative from the European Commission, discuss their experiences in the Support to Public Health Institutes Programme (financed by the European Union), and what they have achieved in influencing policy and practice. Have they been able to leave their ivory tower of science, and have they been able to enter into real dialogue with politicians, practitioners and users of health services? How have they dealt with scepticism in the era mistrust in science? How did they bridge the gap between science and politics, and what tangible products did they deliver to make an impact on health of the population through policy advice or strategy formulation? Did they really make a difference and if yes, how? How did the public health institutes relate to the global giants in health policy and strategies? Did they get support or encouragement for following a local route? Have the public health institutes been able to contribute to global development? Has an international exchange facilitated by the European Commission contributed to strengthening the institutes? After short introductions by the panelists about their work in the last five years, there will be answers to questions from the panel leader and the delegates in the workshop. Delegates are invited to share experiences from their countries. Most of the time of the workshop will be used for a discussion among all participants in the workshop: how can public health institutes and research institutions play a stronger role in policy advice and strategy development in the health sector in their country? What should change within the institutions? How can they demonstrate their added value? What should change in ministries of health and parliaments? What should change in decision-makers in health services? Which best practices do we know, can serve as an example? At the end of the workshop the participants will formulate concrete recommendations, to be presented to the global health community. Key messages Public health institutes and research institutions in low- and middle-income countries have a hidden potential to contribute to local solutions for global health problems. A paradigm shift in relations between academic institutions is needed to unleash the potential of public health institutes.

In the spring of 2012, the author agreed to direct a project on environmental racism in Nova Scotia after meeting with Dave Ron, a social and environmental activist who had been involved for some time in the Save Lincolnville Campaign, a community-led initiative for the removal of the landfill near the African Nova Scotian community of Lincolnville. Thirsty for a new challenge that had the potential to effect real change in racially marginalized communities, she understood that the significance of the project lay in its uniqueness: few, if any, studies exist that examine environmental racism in both the Indigenous and Black communities in Canada. Given the dearth of research on environmental racism in Nova Scotia, particularly from the perspectives of these two communities, the project serves as a kind of case study for telling a particular kind of story situated in the Nova Scotian context and, in many cases, in the larger Canadian context.That project, which was later titled the Environmental Noxiousness, Racial Inequities and Community Health (ENRICH) Project, is a community-based academic study of the socioeconomic and health effects of environmental racism in African Nova Scotian and Mi’kmaw communities. From its inception, the mission of the ENRICH Project has been to employ an interdisciplinary, multi-methodological approach that bridges the academy and community to support ongoing and new efforts by Mi’kmaw and African Nova Scotian peoples to address the social, economic, political, and health effects of disproportionate pollution in their communities.

The Gothic is not always suited to women’s emancipation, but it is very well suited to women’s anger, and all other instances of what Barbara Creed (3) would refer to as ‘abject’ femininity: excessive, uncanny and uncontained instances that disturb patriarchal norms of womanhood. This article asserts that the conventions of the Gothic genre are well suited to expressions of women’s rage; invoking Sarah Ahmed’s work on the discomforting presence of the kill-joy in order to explore how the often-alienating processes of uncensored female anger coincide with contemporary notions of the Monstrous Feminine. This should not suggest that the Gothic is a wholly feminist genre - one need only look to Jane Eyre to observe the binarised construction of Gothic women as either ‘pure’ or ‘deviant’: virginal heroine or mad woman in the attic. However, what is significant about the Gothic genre is that it often permits far more in-depth, even sympathetic explorations of ‘deviant femininity’ that are out of place elsewhere.Indeed, the normative, rationalist demand for good health and accommodating cheerfulness is symptomatic of what Queer Crip scholar Katarina Kolářová (264) describes as ‘compulsory, curative positivity’ – wherein the Monstrousness of deviant femininity, Queerness and disability must be ‘fixed’ in order to produce blithe, comforting feminine docility. It seems almost too obvious to point to The Yellow Wallpaper as a perfect exemplar of this: the physician husband of Gillman’s protagonist literally prescribes indolence and passivity as ‘cures’ for what may well be post-partum depression – another instance of distinctly feminine irrationality that must be promptly contained. The short story is peppered through with references to the protagonist’s ‘illness’ as a source of consternation or discomfort for her husband, who declares, “I feel easier with you now” (134) as she becomes more and more passive.The notion of men’s comfort is important within discussions of women’s anger – not only within the Gothic, but within a broader context of gendered power and privileged experience. Sara Ahmed’s Killing Joy: Feminism and the History of Happiness asserts that we “describe as happy a situation that you wish to defend. Happiness translates its wish into a politics, a wishful politics, a politics that demands that others live according to a wish” (573) For Ahmed, happiness is not solely an individual experience, but rather is relational, and as much influenced by normative systems of power as any other interpersonal process.It has historically fallen upon women to sacrifice their own happiness to ensure that men are comfortable; being quiet and unargumentative, remaining both chase and sexually alluring, being maternal and nurturing, while scrupulously censoring any evidence of pregnancy, breastfeeding or menstrual cycles (Boyer 79). If a woman has ceased to be happy within these terms, then she has failed to be a good woman, and experiences what Ahmed refers to as a ‘negative affect’ – a feeling of being out of place. To be out of place is to be an ‘affect alien’: one must either continue feeling alienated or correct one’s feelings (Ahmed 582). Sociologist Arlie Russell Hochschild uses the analogy of a bride feeling miserable at her wedding, obliging herself to bring her feelings in-line with what is expected of her, “Sensing a gap between the ideal feeling and the actual feeling she tolerated, the bride prompts herself to be happy” (Hochschild 61).Ahmed uses to the term ‘Kill Joy’ to refer to feminists – particularly black feminists – whose actions or presence refuse this obligation, and in turn project their discomfort outwards, instead of inwards. The stereotype of the angry black woman, or the humourless feminist persist because these women are not complicit in social orders that hold the comfort of white men as paramount (583); their presence is discomforting.Contrary to its title, Killing Joy does not advocate for an end to happiness. Rather, one might understand the act of killing joy as a tactic of subjective honesty – an acknowledgement of dis-ease, of one’s alienation and displacement within the social contract of reciprocal happiness. Here I use the word dis-ease as a deliberate double entendre – implying both the experience of a negative affect, as well as the apparent social ‘illness’ of refusing acquiescent female joy. In The Yellow Wallpaper, the protagonist’s passive femininity is ironically both the antithesis and the cause of her Monstrous transformation, demonstrating an instance of feminine liminality that is the hallmark of the Gothic heroine.Here I introduce the example of Lily Frankenstein, a modern interpretation of the Bride of the Creature, portrayed by Billie Piper in the Showtime series Penny Dreadful. In Shelley’s novel the Bride is commissioned for the Creature’s contentment, a contract that Frankenstein acknowledges she could not possibly have consented to (Shelley 206). She is never given sentience or agency; her theoretical existence and pre-natal destruction being premised entirely on the comfort of men. Upon her destruction, the Creature cries, “Are you to be happy while I grovel in the intensity of my wretchedness?” (Shelley 209). Her first film portrayal by Elsa Lanchester in James Whale’s The Bride of Frankenstein (1936) is iconic, but brief. She is granted no dialogue, other than a terrified scream, followed by a goose-like hiss of disgust at Boris Karloff’s lonely Creature. Kenneth Branagh’s Mary Shelley’s Frankenstein (1994) merges the characters of Elizabeth and the Bride into the same doomed woman. After being murdered by the Creature, she is resurrected by Frankenstein – and consequently fought over by both. Her inevitable suicide is her one moment of tragic autonomy.Penny Dreadful is the first time that the Bride has been given an opportunity to speak for herself. Lily’s character arc is neither that of the idealised, innocent victim, nor is she entirely abject and wanton: she is – quite literally – two women in one. Before she is re-animated and conditioned by Victor Frankenstein to be the perfect bride, she was Brona, a predictably tragic, Irish street-walker with a taste for whisky and a consumptive cough. Diane Long Hoeveler describes the ambiguous duality of the Gothic feminine arising from the fantasies of middle-class woman writing gothic fiction during the 19th century (106). Drawing upon Harriet Guest’s examination of the development of femininity in early Gothic literature, Hoeveler asserts that women may explore the ‘deviant’ pleasures of wanton sexuality and individualistic, sadistic power while still retaining the chaste femininity demanded of them by their bourgeois upbringings. As both innocent victim of patriarchy and Monstrous Feminine, the construction of the gothic heroine simultaneously criminalises and deifies women.I assert that Penny Dreadful demonstrates the blurring of these boundaries in such a way that the fantasy of the sympathetic, yet Monstrous Gothic Feminine is launched out of the parlours of bored Victorian housewives into a contemporary feminist moment that is characterised by a split between respectable diplomacy and the visibility of female rage. Her transition from coerced docility and abject, sexualised anger manifests in the second season of the show. The Creature – having grown impatient and jealous – comes to collect his Bride and is met with a furious refusal.Lily’s rage is explosive. Her raw emotion is evidently startling to the Creature, who stands in astonishment and fear at something even more monstrous and alien than himself – a woman’s unrestrained anger. For all his wretched ‘Otherness’ and misery, he is yet a man - a bastard son of the Enlightenment, desperate to be allowed entrance into the hallowed halls of reason. In both Shelley’s original novel and the series, he tries (and fails) to establish himself as a worthy and rational citizen; settling upon the Bride as his coveted consolation prize for his Monstrous failure. If he cannot be a man as his creator was, then he shall have a companion that is ‘like’ him to soothe his pain.Consequently, Lily’s refusal of the Creature is more than a rejection – it is the manifestation of an alien affect that has been given form within the undead, angry woman: a trifecta of ‘Otherness’. “Shall we wonder the pastures and recite your fucking poetry to the fucking cows?” She mocks the Creature’s bucolic, romantic ideals, killing his joyful phantasy that she, as his companion, will love and comfort him despite his Monstrousness (“Memento Mori”).Lily’s confrontation of the Creature is an unrestrained litany of women’s pain – the humiliation of corsetry and high heels, the slavery of marriage, the brutality of sexual coercion: all which Ahmed would refer to as the “signs of labour under the sign of happiness” (573). These are the pains that women must hide in order to maintain men’s comfort, the sacrificial emotional labours which are obfuscated by the mandates of male-defined femininity. The Gothic’s nurturance of anger transforms Lily’s outburst from an act of cruelty and selfishness to a site of significant feminine abjection. Through this scene Hochschild’s comment takes on new meaning: Lily – being quite literally the Bride (or the intended Bride) of the Creature – has turned the tables and has altered the process of disaffection – and made herself happy at the expense of men.Lily forms a militia of ‘fallen’ women from whom she demands tribute: the bleeding, amputated hands of abusive men. The scene is a thrilling one, recalling the misogyny of witch trials, sexual violence and exploitation as an army of angry kill joys bang on the banquet table, baying for men’s blood (“Ebb Tide”). However, as seems almost inevitable, Lily’s campaign is short-lived. Her efforts are thwarted and her foot soldiers either murdered or fled. We last see her walking dejectedly through the London fog, her fate and future unknown.Lily’s story recalls an instance of the ‘bad feminism’ that nice, respectable, mainstream feminists seek to distance themselves from. In her discussion of the acquittal of infamous castatrix Lorena Bobbitt, poet Katha Pollitt (65-66) observes the scramble by “nice, liberal middle-class professional” feminists to distance themselves from the narratives of irrational rage that supposedly characterise ‘victim feminism’ – opting instead for the comforting ivory towers of self-control and diplomacy.Lily’s speech to her troops is seen partly through the perspective of an increasingly alarmed Dorian Gray, who has hitherto been enjoying the debauched potential of these liberated, ‘deviant’ women, recalling bell hooks’ observation that “ultimately many males revolted when we stated that our bodies were territories that they could not occupy at will. Men who were ready for female sexual liberation if it meant free pussy, no strings attached, were rarely ready for feminist female sexual agency” (41). This is no longer a coterie of wanton women that he may enjoy, but a sisterhood of angry, vengeful kill-joys that will not be respectable, or considerate of his feelings in their endeavours.Here, parallels arise between the absolutes drawn between women as agents or victims, and the positioning of women as positive, progressive ‘rational’ beings or melancholic kill-joys that Ahmed describes. We need only turn to the contemporary debate surrounding the MeToo movement (and its asinine, defensive response of ‘Not All Men’) to observe that the process of identifying oneself as a victim has – for many – become synonymous with weakness, even amongst other feminists. Notably, Germaine Greer referred to the movement as ‘whinging’, calling upon women to be more assertive, instead of wallowing in self-victimisation and misandry, as Lily supposedly does (Miller).While Greer may be a particularly easy strawman, her comments nonetheless recall Judith Halberstam’s observations of prescriptive paternalism (maternalism?) within Western feminist discourse. His chapter Shadow Feminisms uses the work of Gayatri Spivak to describe how triumphalist narratives of women’s liberation often function to restrict the terms of women’s agency and expression – particularly those of women of colour.Spivak’s Can the Subaltern Speak? asserts that the colonial narratives inherent within white feminists’ attempts to ‘save’ non-Western women are premised upon the imagined heroicism of the individual, which in turn demands the rejection of ‘subaltern’ strategies like passiveness, anger and refusal. She asks, “does the category of resistance impose a teleology of progressive politics on the analytics of power?” (9). Put more simply, both Halberstam and Spivak beg the question of why it is necessary for women and other historically marginalised groups to adopt optimistic and respectable standards of agency? Especially when those terms are pre-emptively defined by feminists like Greer.Halberstam conceptualises Shadow Feminisms in the melancholic terms of refusal, undoing, failure and anger. Even in name, Shadow Feminism is well suited to the Gothic – it has no agenda of triumphant, linear progress, nor the saccharine coercion of individualistic optimism. Rather, it emphasises the repressed, quiet forms of subversion that skulk in the introspective, resentful gloom. This is a feminism that cannot and will not let go of its traumas or its pain, because it should not have to (Halberstam, Queer Art 128-129).Thus, the Monstrousness of female rage is given space to acknowledge, rather than downplay or dismiss the affective-alienation of patriarchy. To paraphrase scholars Andrew Smith and Diana Wallace, the Gothic allows women to explore the hidden or censured expressions of dissatisfaction and resentment within patriarchal societies, being a “coded expression of women’s fears of entrapment within the domestic and within the female body” (Smith & Wallace 2).It may be easy to dismiss the Gothic as eldritch assemblages of Opheliac madness and abject hyperbole, I argue that it is valuable precisely because it invites the opening of festering wounds and the exploration of mouldering sepulchres that are shunned by the squeamish mainstream; coaxing the skeletons from the closet so that they may finally air their musty grievances. As Halberstam states in Skin Shows: Gothic Horror and the Technology of Monsters, the Gothic represents the return of the repressed and thus encourages rather than censors the exploration of grief, madness and irrationality (Skin Shows 19). Accordingly, we may understand Lily’s rage as what Halberstam would refer to as a Monstrous Technology (21-22) – more specifically, a technology of the Monstrous Feminine: a significant site of disruption within Gothic narratives that not only ‘shows’ the source of its abjection, but angrily airs its dirty laundry for everyone to see.Here emerges the distinction between the ‘non-whinging’, respectable feminism advocated by the likes of Greer and Lily’s Monstrous, Gothic Feminism. Observing a demonstration by a group of suffragettes, Lily describes their efforts as unambitious – “their enemies are same, but they seek equality” (“Good and Evil Braided Be”). Lily has set her sights upon mastery. By allowing her rage to manifest freely, her movement has manifested as the violent misandry that anti-suffragists and contemporary anti-feminists alike believe is characteristic of women’s liberation, provoking an uncomfortable moment for ‘good’ feminists who desperately wish to avoid such pejorative stereotypes.What Lily offers is not ethical. It does not conform to any justifiable feminist ideology. She represents that which is repressed, a distinctly female rage that has no place within any rational system of belief. Nonetheless, Lily remains a sympathetic character, her “doomed, keening women” (“Ebb Tide”) evoking a quiet, subversive thrill of solidarity that must be immediately hushed. This, I assert, is indicative of the liminal ambiguity that makes the Monstrous Feminine so unsettling, and so significant.And Monsters are always significant. Their ‘Otherness’ functions like lighthouses of meaning. Further, as Jeffrey Jerome Cohen (6) reminds us, Monsters signify not only the fragile boundaries of human subjectivity and discourse, but also the origins of the alterity that defines them. Like the tragic creature of Shelley’s masterpiece, Monsters eventually follow their creators home to demand an explanation – their revenant terror demands accountability (Cohen 20). What Lily exemplifies does not have to make others comfortable, and it is under no obligation to remain within any standards of ethics. To return one last time to Halberstam, I argue that the Monstrosity manifested within female rage is valuable precisely because it because it obliges us “to be unsettled by the politically problematic connections history throws our way” (Halberstam, Queer Art 162). Therefore, to be angry, to dwell on traumatic pasts, and to revel in the ‘failure’ of negativity is to ensure that these genealogies are not ignored.When finally captured, Victor Frankenstein attempts to lobotomise her, promising to permanently take away the pain that is the cause of her Monstrous rage. To this, Lily responds: “there are some wounds that can never heal. There are scars that make us who we are, but without them, we don’t exist” (“Perpetual Night and the Blessed Dark”). Lily refuses to let go of her grief and her anger, and in so doing she fails to coalesce within the placid, docile femininity demanded by Victor Frankenstein. But her refusal is not premised in an obdurate reactionism. Rather, it is a tactic of survival. By her own words, without her trauma – and that of countless women before her – she does not exist. The violence of rape, abuse and the theft of her agency have defined her as both a woman and as a Monster. “I’m the sum part of one woman’s days. No more, no less”, she tells Frankenstein. To eschew her rage is to deny its origin.So, to finish I ask readers to take a moment, and dwell on that rage. On women’s rage. On yours. On the rage that may have been directed at you. Does that make you uncomfortable?Good.ReferencesAhmed, Sara. “Killing Joy: Feminism and the History of Happiness.” Signs: Journal of Women in Culture and Society 35.3 (2010): 571-593.Cohen, Jeffrey Jerome. “Monster Culture (Seven Theses).” Monster Theory: Reading Culture. Ed. Jeffrey Jerome Cohen. Minnesota: U of Minnesota P, 1996. 3-25.Creed, Barbara. The Monstrous Feminine: Film, Feminism, Psychoanalysis. New York: Routledge, 1993.“Ebb Tide.”. Penny Dreadful. Showtime, 2016.“Good and Evil Braided Be.” Penny Dreadful. Showtime, 2016.Halberstam, Judith. Skin Shows: Gothic Horror and the Technology of Monsters. USA: Duke UP, 1995.———. The Queer Art of Failure. USA: Duke UP, 2011.Hoeveler, Diane. “The Female Gothic, Beating Fantasies and the Civilizing Process.” Comparative Romanticisms: Power, Gender, Subjectivity. Eds. Larry H. Peer and Diane Long Hoeveler. Columbia, SC: Camden House, 1998. 101-132.hooks, bell. Communion: The Female Search for Love. USA: Harper Collins, 2003.Kolářová, Kristina. “The Inarticulate Post-Socialist Crip: On the Cruel Optimism of Neo-Liberal Transformation in the Czech Republic.” Journal of Literary & Cultural Disability Studies 8.3 (2014): 257-274.“Memento Mori.” Penny Dreadful. Showtime, 2015.Miller, Nick. “Germaine Greer Challenges #MeToo Campaign.” Sydney Morning Herald, 21 Jan. 2018.“Perpetual Night/The Blessed Dark.” Penny Dreadful. Showtime, 2016.Pollitt, Katha. “Lorena’s Army.” “Bad Girls”/“Good Girls”: Women, Sex & Power in the Nineties. Eds. Nan Bauer Maglin and Donna Perry. New Brunswick: Rutgers UP, 1996. 65-67.Shelley, Mary. Frankenstein, Or the Modern Prometheus. Australia: Penguin Books, 2009 [1818].Spivak, Gayatri. “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. Eds. Cary Nelson and Lawrence Grossberg. Chicago: U of Illinois P, 1988.Smith, Andrew, and Diana Wallace. “The Female Gothic: Now and Then”. Gothic Studies 6.1 (2004): 1-7.