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ACKNOWLEDGMENTS The Luminary would like to thank Sara Gancho, Lancaster Institute for the Contemporary Arts (LICA), Lancaster University for her cover art design. Sara can be contacted via s.gancho1@lancaster.ac.uk, and her work can be viewed at: http://imagination.lancaster.ac.uk/people/Sara_Gancho http://www.linkedin.com/pub/sara-gancho/2a/22b/18a We would also like to thank Dr. Michael Greaney, Professor Lynne Pearce, Professor Graham Mort, Dr. Brian Baker and Professor John Schad for their support and input. Thanks also to Distinguished Professor of Literature, Terry Eagleton. www.lancs.ac.uk/luminary luminary@lancaster.ac.uk 2
SLEEP(LESS) BEDS CONTENTS The Story of the Bed (Foreword) - Dr. Michael Greaney, Lancaster University pp. 4-5 CREATIVE PIECES Formation of a different medium of perception (Visual) pp. 6-8 - Fatemeh Takhtkeshian, Lancaster University Sleeping Over (Creative Writing) pp. 9-12 - Chris Wiewiora, Iowa State University Neither Sleeping nor Waking (Poetry) p. 13 - Kevin McLellan, University of Rhode Island CRITICAL PIECES ‘Never Sleep Again’ - Horrific Beds in Wes Craven’s Nightmares - Katharina Rein, Humboldt-University of Berlin pp. 14-25 ‘Then draw the Curtaines againe’: The Strange Case of Good Duke Humphrey (of William Shakespeare’s Henry VI, Part Two) - Dr. Filip Krajnik, Durham University pp. 26-37 Between the Sheets: ‘Lamination’ and Sophie Calle’s The Sleepers - Erkan Ali, Lancaster University pp. 38-51 Scenes from a bedroom: situating British independent music, 1979-1995 - Elodie Amandine Roy, Newcastle University pp. 52-61 The Public and Private Realms in the Seventeenth-Century: A Parameter of Wood and Fabric - Sarah Ann Robin, Lancaster University pp. 62-73 Jouissance: Journeys Beyond the Bed with Hélène Cixous - Cecily Davey, University of St. Andrews pp. 74-81 INTERVIEW Professor Terry Eagleton, and The Event of Literature - Nour Dakkak, Rachel Holland and Chloe Buckley, Lancaster University pp. 82-88 3
Page 4 and 5: FOREWORD THE STORY OF THE BED Dr. M
Page 6: CREATIVE PIECE FORMATION OF A DIFFE
Page 10 and 11: “You’re not fucking me,” Laur
Page 12 and 13: I spooned Lauren while rubbing her
Page 14 and 15: CRITICAL ‘NEVER SLEEP AGAIN’ -
Page 16 and 17: ecomes a symbol. These range from u
Page 18 and 19: alarm clock. She has to synchronize
Page 20 and 21: Although they all deal with the sam
Page 22 and 23: the Nightmare series that Freddy-fe
Page 24 and 25: 4 Dir. by Sean S. Cunningham, Param
Page 26 and 27: CRITICAL ‘THEN DRAW THE CURTAINES
Page 28 and 29: etweene the two Famous Houses, Lanc
Page 30 and 31: The lack of a critical consensus co
Page 32 and 33: Whereas we might, at the moment, te
Page 34 and 35: Having heard this, the King address
Page 36 and 37: study of the authorship question of
Page 38 and 39: CRITICAL BETWEEN THE SHEETS: ‘LAM
Page 40 and 41: Sophie Calle has built a unique car
Page 42 and 43: of the situation over to Calle. Sim
Page 44 and 45: documents. In abandoning this stric
Page 46 and 47: language systems), thereby mimickin
Page 48 and 49: that is peculiar; the social world
Page 50 and 51: homosexual and that I’m going to
Page 52 and 53:
CRITICAL SCENES FROM A BEDROOM: SIT
Page 54 and 55:
edroom will be considered, in turn,
Page 56 and 57:
and imagination, but perhaps it is
Page 58 and 59:
phantasm of space. The bed is (both
Page 60 and 61:
4 The Cartel (1978-1988) was an ass
Page 62 and 63:
CRITICAL THE PUBLIC AND PRIVATE REA
Page 64 and 65:
panelling, with a cupboard door or
Page 66 and 67:
customs, rituals and interactions t
Page 68 and 69:
mother named Margaret Adams: ‘…
Page 70 and 71:
The bed was not the only space with
Page 72 and 73:
25 Samuel Sewall, The Diary of Samu
Page 74 and 75:
CRITICAL JOUISSANCE: JOURNEYS BEYON
Page 76 and 77:
What Cixous calls for in ‘Sorties
Page 78 and 79:
can be released. As contradictory a
Page 80 and 81:
I have a faint recollection from an
Page 82 and 83:
INTERVIEW / REVIEW PROFESSOR TERRY
Page 84 and 85:
uneasy with abstract thought; it pr
Page 86 and 87:
proudly presented to me as the bigg
Page 88:
absolutely send them into total cha
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