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Mimicry, history, and laughter
Andrew Smith

power. For Tracy, ‘Like the sidhé , the Anglo-Irish were powerful, unpredictable, sometimes malevolent, and different in their behaviour, religion, language and customs’. 11 However, with the advent of successful Catholic agitation for change the sidhé became associated, in the Protestant imagination, with Catholics, so that ‘In the hands of Sheridan Le Fanu […], the undead become the ancient

in The ghost story, 1840–1920
Steven Peacock

: Some of this comes from my own experience – now I live in a landscape similar to that of Harbour, but before that I spent some time in the setting of Let the Right One In and a great deal of time in the Stockholm setting of Handing the Undead. In terms of the sense of place – I don’t think I’m very good at describing nature – but the sense of place is very important to me. I often make up maps of the fictional settings while writing the novels. It is very important for me to know exactly what it looks like around the characters, when they are walking, how the air

in Swedish crime fiction
Peter Hutchings

Waller, The Living and the Undead: From Stoker’s Dracula to Romero’s Dawn of the Dead (Urbana, IL: University of Illinois Press, 1986) , 113–23. 16 David Pirie, The Vampire Cinema (London: Hamlyn, 1977) , 74; as Gregory Waller has noted, the fact that Harker is forewarned, forearmed and yet is defeated underlines his ineffectuality; Waller, The Living and the Undead , 114. 17 Significantly, in the novel

in Hammer and beyond

at the mercy of a rapacious Crown and a greedy laity. The second half of the sixteenth century would see Manchester College embroiled in fraud, embezzlement, and policies designed to make short-term gain out of its estates as Crown and layfolk found willing helpers within the College in the sordid business of asset stripping. The undead college, 1558–78 The Acts of Supremacy and Uniformity of 1559 formalised the change in England from Roman Catholicism to Protestantism, ushering in a change of

in Manchester Cathedral
Mary Wollstonecraft’s Frankenstein
Damian Walford Davies

the ‘life/writings’ of the Wollstonecraft-Godwin-Shelley clan – their ‘publicizing of family’ – actively set out to challenge ‘the deadness of the dead’ through writerly acts of creative mourning that ‘craft works of a new species out of the un/dead’.14 Through a boldfaced act of historical balking, I also answer Mary Jacobus’s call to resist Wollstonecraft’s ‘legacy of impossible mourning’ by declaring a resistance to her death and to the family refrain that Wollstonecraft – bastilled in a fatal, fatalistic n ­ arrative – inherited from her mother’s deathbed and

in Counterfactual Romanticism
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Why a history of International Relations theory?
Torbjørn L. Knutsen

. Then there are International Relations authors who are not entirely forgotten but who have slid into partial oblivion. They live the life of the undead. Their texts are twilight classics, whose arguments are surrounded by myth and misunderstanding. One of these is Norman Angell, who warned against the threat of impending catastrophe on the eve of World War I. He began his most famous book, The Great Illusion [ 1910 ], with a warning: namely, that growing tension among Europe’s Great Powers made war likely. And if war should break out, Angell continued, the result

in A history of International Relations theory (third edition)
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Scott Wilson

. Commenting on the lyrics that are characteristic of death metal, Bogue highlights its ‘obsession with death … with the death at the heart of life, the desire/ death of zero intensity, which is figured as life in death or after death, the living death of zombies, vampires, ghouls, and devils, the undead, the already dead, the living dead: a becoming-death in the lyrics to accompany the becoming Bass spirituality 167 metal of the sound’ (2004: 105). There is an obsession with death in two senses, then. The immanence of death that illuminates life’s intensity, and the

in Great Satan’s rage
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The family destabilized in The Monk (1796), Zofloya, or the Moor (1818), and Her Fearful Symmetry (2009)
Joanne Watkiss

morning’ (278). After her funeral has taken place, Ambrosio ‘lifted her still motionless from the Tomb: He seated himself upon a bank of Stone, and supporting her in his arms, watched impatiently for the symptoms of returning animation’ (379). Uncannily, his sister is rendered undead by her brother, who waits for her to come back to life, in order to ravish and then kill her: ‘gradually he felt the bosom

in Gothic kinship
Subverting the Gothic heroine?
Laura Hilton

), prose (e.g. K. J. Anderson’s 2003 League of Extraordinary Gentlemen and Dacre Stoker and Ian Holt’s 2009 Dracula the Un-dead ), comics (e.g. Leah Moore, John Reppion and Colton Worley’s 2010 adaptation, published by Dynamite Entertainment; see also Marvel’s 1973–75 Dracula Lives! ), manga (e.g. Kouta Hirano

in Alan Moore and the Gothic Tradition
The sound of the cinematic werewolf
Stacey Abbott

the creaking door, the bats squeaking, the armadillos scurrying across the floor and the wolves howling are emphasised while Dracula's and Renfield's footsteps are absent. Importantly, Dracula's voice is emphasised. As Isabella van Elferen points out: A thick Hungarian accent, a bombastic bass voice, and canned sound quality have made the phrase ‘I ahm Drrahkuhlah’ quite as immortal as the Count himself is supposed to be. This is undead speech to be sure, and Lugosi's accent and vocal timbre only

in In the company of wolves