Spaces of observation and obscurity: cinematic prisons of light and dark

In The Eye of Power, Foucault delineated the key concerns surrounding hospital architecture in the latter half of the eighteenth century as being the ‘visibility of bodies, individuals and things'. As such, the ‘new form of hospital' that came to be developed ‘was at once the effect and support of a new type of gaze'. This was a gaze that was not simply concerned with ways of minimising overcrowding or cross-contamination. Rather, this was a surveillance intended to produce knowledge about the pathological bodies contained within the hospital walls. This would then allow for their appropriate classification. Foucault went on to describe how these principles came to be applied to the architecture of prisons. This was exemplified for him in the distinct shape of Bentham's panopticon. This circular design, which has subsequently become an often misused synonym for a contemporary culture of surveillance, was premised on a binary of the seen and the not-seen. An individual observer could stand at the central point of the circle and observe the cells (and their occupants) on the perimeter whilst themselves remaining unseen. The panopticon in its purest form was never constructed, yet it conveys the significance of the production of knowledge through observation that became central to institutional design at this time and modern thought more broadly. What is curious though is that whilst the aim of those late eighteenth century buildings was to produce wellventilated spaces suffused with light, this provoked an interest in its opposite. The gothic movement in literature that was developing in parallel conversely took a ‘fantasy world of stone walls, darkness, hideouts and dungeons…' as its landscape (Vidler, 1992: 162). Curiously, despite these modern developments in prison design, the façade took on these characteristics. The gothic imagination came to describe that unseen world that lay behind the outer wall. This is what Evans refers to as an architectural ‘hoax'. The façade was taken to represent the world within the prison walls and it was the façade that came to inform the popular imagination about what occurred behind it. The rational, modern principles ordering the prison became conflated with the meanings projected by and onto the façade. This confusion of meanings have then been repeated and reenforced in the subsequent representations of the prison. This is of paramount importance since it is the cinematic and televisual representation of the prison, as I argue here and elsewhere, that maintain this erroneous set of meanings, this ‘hoax'.

'Marginal gothic': mediating the monstrous in British romanticism

In this paper I look at texts from the Romantic Period which strategically employ elements of the Gothic genre in what I describe as a `marginal` relationship with the Gothic canon. My intention is both to explore the way the boundaries of the genre might be extended, and to cast fresh light on some of the texts discussed, specifically in relation to the ways in which the `monstrous` is perceived and portrayed as villainy. In the first half of the paper, using Burke’s Philosophical Enquiry on the Sublime and the Beautiful as a starting point, I consider Burke’s Reflections on the Revolution in France, Godwin’s Caleb Williams, Radcliffe’s The Italian, and Blake’s The Marriage of Heaven and Hell as all in various ways examples of `marginal Gothic` that present evil doing as monstrous aberrations, also noting the contemporary reception of Beckford’s Vathek, praised in 1786 for its `accuracy and credibility`. In addition, I suggest that Wordsworth’s `Tintern Abbey` and Book VI of The Prelude provide evidence of marginal, but significant, Gothic influence that references Radcliffe’s and Burke’s explorations of a terror of the unknown. In the second half of the paper I focus on Scott’s Guy Mannering, or The Astrologer (1815) as an important example of a `marginal` Gothic novel. Scott’s reference to Vathek at a key point in his plot suggests that he had read Beckford’s novel as entirely `Gothic`. This discussion incorporates a comparison between Mannering’s youthful enthusiasm for astrological divination, and themes to be found in Shelley’s Frankenstein, notably with respect to the nature of Victor Frankenstein’s response to `old` and `new` science and medicine, and to the creation and control of Gothic monstrosity. In these and in other instances, it will be argued that the `marginal Gothic` of Scott’s novel may be read as a precursor to Shelley’s work. [From the Author]

Marginal adaptation and performance of bioactive dental restorative materials in deciduous and young permanent teeth

Objective: The aim of this study was to investigate the adaptation of different types of restorations towards deciduous and young permanent teeth. Materials and Methods: Class V cavities were prepared in deciduous and young permanent teeth and filled with different materials (a conventional glass-ionomer, a resin-modified glass-ionomer, a poly-acid-modified composite resin and a conventional composite resin). Specimens were aged in artificial saliva for 1, 6, 12 and 18 months, then examined by SEM. Results: The composite resin and the polyacid-modified composite had better marginal adaptation than the glass-ionomers,though microcracks developed in the enamel of the tooth. The glass-ionomers showed inferior marginal quality and durability, but no microcracking of the enamel. The margins of the resin-modified glass-ionomer were slightly superior to the conventional glass-ionomer. Conditioning improved the adaptation of the composite resin, but the type of tooth made little or no difference to the performance of the restorative material. All materials were associated with the formation of crystals in the gaps between the filling and the tooth; the quantity and shape of these crystals varied with the material. Conclusions: Resin-based materials are generally better at forming sound, durable margins in deciduous and young permanent teeth than cements, but are associated with microcracks in the enamel. All fluoride-releasing materials give rise to crystalline deposits.

Safe spaces and sense of identity: views and experiences of lesbian, gay and bisexual young people

Empirical data on the life experiences of contemporary school-age lesbian, gay and bisexual (LGB) young people in Britain remains somewhat sparse. This paper reports the preliminary findings of a study conducted at a recently-initiated LGB youth Summer School. To further an appreciation of issues of concern to today's LGB teenagers, in-depth interviews were conducted with 10 Summer School participants (five female and five male, aged 15-18 years). The aim was to elicit their views and experiences relating to their need for support such as that offered by the Summer School. Themes drawn from participants' interviews are presented. Key issues included: being positioned as different by their majority heterosexual peers; feelings of isolation and loneliness in their peer groups and families; difficulties in finding others like themselves for companionship; and the importance of meeting more LGB people of their own age.