Human monstrosity: rape, ambiguity and performance in Rosemary’s Baby (Roman Polanski, 1968)

The narrative of Rosemary’s Baby hinges on a central hesitation between pregnancy induced madness and the existence of Satanism. Accordingly, the monstrous element is embodied in both the real and the supernatural: Rosemary’s husband Guy (John Cassavetes) is responsible for her victimisation through rape in either explanation. However, I will argue that the inherent ambiguity of the plot makes it difficult to place him as such a figure typical to the archetypal horror binaries of normality/monster, human/inhuman. By displacing generic convention the film complicates the issue of monstrosity, whilst simultaneously offering the possibility for the depiction of female experience of marriage to be at the centre of the narrative, for the real to be possibly of more significance than the supernatural. Previous writing has tended to concentrate on Rosemary and her pregnancy, so through detailed consideration of Cassavetes’ performance and its placement in the mise-en-scène this focus on Guy aims to demonstrate that he changes almost as much as Rosemary does. The chapter will focus on the film’s depiction of rape, during Rosemary’s nightmare and after it, in order to demonstrate how the notion of performance reveals Guy’s monstrousness and the difficulties this represents in our engagement with him.

Provenance of chalk tesserae from a Roman town-house in Vine Street, Leicester

Fourth-century a.d. chalk tesserae from Roman Leicester (Ratae Corieltavorum) yield rich microfossil assemblages that identify a biostratigraphical age of Cretaceous Late Cenomanian to Early Turonian. The nearest chalk outcrops to Leicester lie in Hertfordshire, Lincolnshire, Yorkshire and north Norfolk, indicating that the material for the tesserae must have been sourced remotely and transported to Ratae. Superimposing the Roman road network onto a map of the relevant Chalk Group distribution provides a guide to possible sources. A process of evaluation identifies Baldock in Hertfordshire and Bridlington in Yorkshire as the most likely sources for the Leicester tesserae.

'Context' in Durham, E., 'Symbols of power: The Silchester Bronze Eagle and eagles in Roman Britain'

Those who study Roman art and religion in Britain will know that there are a relatively small number of pieces in stone and bronze which are regularly used to illustrate arguments on Romanization, provincialism and identity. However, while these objects become familiar through such use, they are, in fact, often little studied as pieces in their own right and the only description of their appearance and context are some fifty or more years old. Re-excavation of the context from which the Silchester eagle was recovered has raised questions about the date of its deposition, as well as its origin and use, and indeed the nature of its deposition at Silchester. This paper examines the figurine in detail, the role of the eagle at Silchester and explores the significance of the eagle more widely in Roman Britain.