On 25th May 2020 the murder of George Floyd, a 46-year-old Black American man, by police officer Derek Chauvin, sent social media into an uproar that reignited the Black Lives Matter Movement. The use of the global hashtag ‘#BLM’ was everywhere: through television, newspaper and social media news headlines. A week later, on Tuesday 2nd June there was a viral ‘blackout’ on Instagram, where ’28 million users posted a plain black square along with the hashtag #blackouttuesday’ to support the black community.1Continue reading
The Perceptions of Pregnancy blog, like the Researchers’ Network, aims to reach beyond boundaries and borders, and to facilitate an international and interdisciplinary conversation on pregnancy and its associated bodily and emotional experiences from the earliest times to the present day. This week, to coincide with Baby-loss awareness week, Karolina Kuberska writes about the importance of language in discussions about pregnancy loss.
There are many difficult aspects to the experience of pregnancy loss; even the most articulate people may struggle to capture the emotional chaos or to accurately describe what it is that they have lost. While distinctions are made by professionals working in medicine and English law between miscarriage (up to 23 weeks and 6 days), stillbirth (from the 24th week), and terminations, these categories may not readily translate into how some people perceive what has happened to them: that their baby has died or that they have lost future hopes and dreams.
The Perceptions of Pregnancy blog, like the Researchers’ Network, aims to reach beyond boundaries and borders, and to facilitate an international and interdisciplinary conversation on pregnancy and its associated bodily and emotional experiences from the earliest times to the present day. This week Amy Kenny explores why superfetation was removed from The Comedy of Errors.
“Open the womb to receive seed again”: Removing superfetation from The Comedy of Errors
In the source material for The Comedy of Errors, Alcmena becomes pregnant with twins fathered by two different male suitors, a medical condition known as superfetation. Those familiar with The Comedy of Errors will recall no such plot twist in Shakespeare’s play. So what accounts for the change in dramatizing gestation? What can this switch suggest to us about the play’s portrayal of pregnancy and twins? Throughout the early modern period, multiple births were often considered suspicious because they played on the cultural anxiety surrounding gratuitous female sexuality. If a woman could commit adultery even while pregnant, fathers feared the paternity of their heirs.