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Author: Juliana Adelman

This book is a history of nineteenth-century Dublin through human–animal relationships. The book offers a unique perspective on ordinary life in the Irish metropolis during a century of significant change and reform. The book argues that the exploitation of animals formed a key component of urban change, from municipal reform to class formation to the expansion of public health and policing. The book uses a social history approach but draws on a range of new and underused sources including archives of the humane society and the Zoological Society, popular songs, visual ephemera and diaries. The book moves chronologically from 1830 to 1900 with each chapter focused on specific animals and their relationship to urban changes. The first chapter examines the impact of Catholic emancipation and rising Catholic nationalism on the Zoological Society and the humane movement. The second chapter looks at how the Great Famine drove reformers to try to clearly separate the urban poor from animals. The third chapter considers the impact of the expanding cattle trade on the geography, infrastructure and living conditions of the city. The fourth chapter looks at how middle-class ideas about the control of animals entered the legal code and changed where and how pigs and dogs were kept in the city. The fifth and final chapter compares ideas of the city as modern or declining and how contrasting visions were associated with particular animals. The book will interest anyone fascinated by the history of cities, the history of Dublin or the history of Ireland.

Author: Brian McFarlane

Brian McFarlane’s The never-ending Brief Encounter is above all a book intended for those who have seen and never forgotten the famous 1945 film in which two decent, middle-class people meet by chance, unexpectedly fall in love, but in the end acknowledge the claims of others. The book grew out of an article, the writing of which revealed that there was so much more to the after-life of the film than the author had realised. This book examines David Lean’s film in sufficient detail to bring its key situations vividly to life, and to give an understanding of how it reworks Nöel Coward’s somewhat static one-act play to profound effect. It also examines the ways in which the ‘comic relief’ is made to work towards the poignant ending. However, the main purpose of the book is to consider the remarkable after-life the film has given rise to. The most specific examples of this phenomenon are, of course, the appalling film remake with its miscast stars, and the later stage versions – both bearing the original title and attracting well-known players and positive audience and critical response – and an opera! As well, there are films and TV series which have ‘quoted’ the film (usually via black-and-white inserts) as commentary on the action of the film or series. There are many other films that, without direct quotation, seem clearly to be echoing their famous predecessor; for example, in the haunting visual quality of a deserted railway platform.

Kristina Aikens

Through an analysis of Dracula, this article will explore some of the hyperbolic rhetoric surrounding drug use and womens place in medical discourse that has, like the Count himself, risen again and again in our culture. It argues that Dracula attempts – through popular metaphors of addiction, shifting terminologies about drug use, and British anxieties about immigration – to make a clear but highly unstable distinction between licit and illicit drug use. In the process, Stoker‘s novel illuminates a complex relationship between middle-class women and the opiates that paradoxically serve as a site of patriarchal oppression and resistance to it.

Gothic Studies
Jordan Kistler

The existing canon of scholarship on Dracula asserts that the sexually aggressive female vampires are representative of the New Woman, and thus are evidence of Stoker’s conservative reaction to changing gender roles. In contrast, this article offers a reinterpretation Dracula in the light of key writings of the New Woman movement which sought to demonize the Victorian marriage market because of its creation of a class of female parasites: idle middle-class woman entirely dependent on fathers and husbands. A close reading of key sections of the novel demonstrates that the female vampires are characterized as traditionally subordinate Victorian housewives, in contrast to the positive presentation of Mina Harker as a New Woman. This reading reveals a text that argues that work for women is the only antidote to the degeneration inherent in traditional womanhood, through which women are reduced to nothing more than their biological functions.

Gothic Studies
D.G. Paz

This article addresses three topics. It describes Chartisms creation of a ‘peoples history’ as an alternative to middle-class history, whether Whig or Tory. It locates the sources, most of which have not been noticed before, for the Chartist narrative of the English Reformation. William Cobbetts reinterpretation of the English Reformation is well known as a source for the working-class narrative; William Howitts much less familiar but more important source, antedating Cobbetts History of the Protestant Reformation in England, is used for the first time. The article reconstructs that narrative using printed and manuscript lectures and published interpretations dating from the first discussions of the Peoples Charter in 1836 to the last Chartist Convention in 1858. The manuscript lectures of Thomas Cooper are an essential but little-used source. The article contributes to historical understanding of the intellectual life of the English working class.

Bulletin of the John Rylands Library
Melissa Edmundson

Throughout the nineteenth century, the term ‘uncomfortable houses’ was used to describe properties where restless spirits made life unpleasant for any living persons who tried to claim these supernatural residences as their own. This article uses the idea of ‘uncomfortable houses’ to examine how this ghostly discomfort related to larger cultural issues of economics and class in Victorian Britain. Authors such as Charlotte Riddell and Margaret Oliphant used the haunted house story as a means of social critique which commented on the financial problems facing many lower- and middle-class Victorians. Their stories focus on the moral development of the protagonists and reconciliation through the figure of the ghost, ultimately giving readers the happy endings that many male-authored ghost stories lack. Riddell‘s ‘The Old House in Vauxhall Walk’ and ‘Walnut-Tree House’ and Oliphant‘s ‘The Open Door’ serve as important examples of this ‘suburban Gothic’ literature.

Gothic Studies
Open Access (free)
Deaths and politicised deaths in Buenos Aires’s refuse
Mariano D. Perelman

The appearance of corpses in rubbish tips is not a recent phenomenon. In Argentina, tips have served not only as sites for the disposal of bodies but also as murder scenes. Many of these other bodies found in such places belong to individuals who have suffered violent deaths, which go on to become public issues, or else are ‘politicised deaths’. Focusing on two cases that have received differing degrees of social, political and media attention – Diego Duarte, a 15-year-old boy from a poor background who went waste-picking on an open dump and never came back, and Ángeles Rawson, a girl of 16 murdered in the middle-class neighbourhood of Colegiales, whose body was found in the same tip – this article deals with the social meanings of bodies that appear in landfills. In each case, there followed a series of events that placed a certain construction on the death – and, more importantly, the life – of the victim. Corpses, once recognised, become people, and through this process they are given new life. It is my contention that bodies in rubbish tips express – and configure – not only the limits of the social but also, in some cases, the limits of the human itself.

Human Remains and Violence: An Interdisciplinary Journal
An Introduction
Jerrold Hogle

This essay introduces this special issue on ‘Romanticism and the “New Gothic”’, which contains revisions of essays presented at a special seminar at the 1999 joint conferences of the International Gothic Association (IGA) and the North American Society for the Study of Romanticism (NASSR) held in Halifax, Nova Scotia. Hogle argues that the ‘Gothic’ as a highly counterfeit and generically mixed mode in the eighteenth century was a quite new, rather than revived old, aesthetic which allowed for the disguised projection - or really abjection - of current middle-class cultural fears into symbols that only seemed antiquated, supernatural, or monstrous on the surface. Romantic writers thus faced this mode as a symbolic location where feared anomalies of their own moment could be faced and displaced, and such writers reacted to this possibility using some similar and quite different techniques. Post-Romantic writers, in turn, ranging from Emily Dickinson all the way to the writers and directors of modern films with Gothic elements, have since proceeded to make the Gothic quite new again, in memory of and reaction to Romantic-era uses of the new Gothic. This recurrent remaking of the Gothic comes less from the survival of certain features and more from the cultural purposes of displacing new fears into symbols that recall both the eighteenth-century Gothic and Romantic redactions of it. The papers in this special issue cover different points in this history of a complex relationship among aesthetic modes.

Gothic Studies
The Aid Industry and the ‘Me Too’ Movement
Charlotte Lydia Riley

’ ( Guardian , 2018 ). It is not that everyone within NGOs refuses to accept that this problem exists or its potential severity, but Goldring’s comments demonstrate a tendency among white, male, middle-class figures who are senior in these organisations – who are unlikely themselves to be the target of sexual harassment, abuse or intimidation – to downplay the risk of this occurring and to respond to accusations slowly and reluctantly. British

Journal of Humanitarian Affairs
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

ended with local charities and national committees (e.g. the International Socialist Congress, the miners, the International Suffrage Alliance, the International Women’s Committee) contacting film departments of aid agencies to offer theatrical and non-theatrical venues, including meeting halls, clubs, schools, or churches. Moviegoers ranged from working- to middle-class, with a prevalence of female adults. Cinema also became a mobile technology after World War I, traveling from city centers to remote and rural locations. Mixing different filmic genres such as ‘social

Journal of Humanitarian Affairs