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Jonathan Rayner

images of nationhood produced by the Australian cinema is linked indelibly to enduring colonial, cultural associations. The stereotypes of Australian-ness which emerged in early, successful or favoured cinematic representations have entered the consciousness of local and foreign audiences. Consequently they form as benchmark from which subsequent images can diverge or derive power from contrast or comparison. Even under circumstances of indigenous production, the framework of cinema often remains a First World institution, from

in Contemporary Australian cinema
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The Catholic other in Horace Walpole and Charles Maturin
Robert Miles

accidental. The romance directly addressing Irish nationhood ends tragically, because, for Maturin, happy nationhood is finally unimaginable. The Wild Irish Boy is the comic romance, and was the first to be published (in 1808). Both texts are allegories in that the marriage plots feature the coming together of the Irish and English in a mutual process of national self-definition. Another dominant feature of

in European Gothic
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Shelley Trower

emotional pull of nationhood can be a barrier to the deeper issues of social class, and an unequal social order’, issues that are shared far more widely beyond any single nation or region. 19 This book has traced the historical development of racial and ancestral definitions of Cornishness, although there are, of course, other ways of identifying as Cornish. That Cornish identity continues to be focused on

in Rocks of nation
Dreams of belonging in Cornish nationalist and New Age environmental writing
Shelley Trower

, exclusive belonging. That concepts of nationhood are closely connected with the preservation of ancient monuments, along with changes in their interpretation, description, and imagination since the seventeenth century, has become increasingly clear in the work of critics, geographers and archaeologists such as Sam Smiles, Nuala Johnson and Yannis Hamilakis. 2 Much of this work is

in Rocks of nation
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Caledonian fatality in Thomas Percy’s Reliques
Frank Ferguson
Danni Glover

years to convert Jacobitism from a perpetual threat to British nationhood to a safe, nostalgic parable? The defeat at Culloden in 1746 and subsequent legal restrictions placed on Highland culture ended the Jacobite threat in a literal, real-world sense, but it might be argued that parallel to this military, political, juridical and economic quelling of Jacobitism, a cultural enterprise also developed to eradicate the threat to the British state. Percy’s ballad efforts – which had a direct influence on Scott’s own Minstrelsy of the Scottish Border (1802

in Suicide and the Gothic
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Avril Horner

similar anxiety concerning legitimacy. Both also embody dreams of nationhood and Irish aspirations; both contain Catholic elements and stereotypes. Miles’s point is that, in both cases, ‘Maturin’s plot at once confronts these stereotypes, and succumbs to them; but the energy that propels it is not anti-Catholicism per se, but Irish nationalism’ (p. 100). Thus the Catholic as abject European other in

in European Gothic
Elisabeth Bronfen
Beate Neumeier

England . Eds Mary Floyd-Wilson and Garrett A. Sullivan, Jr. Basingstoke : Palgrave , 2007 . 55–70 . Helgerson , Richard . Forms of Nationhood . Chicago : University of Chicago Press , 1992 . Hogle , Jerrold E . ‘Introduction: The

in Gothic Renaissance
Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison

as emblematised by an ostensibly motherless, patriarchally obsessed protagonist subjected to bizarre psycho-sexual experimentation (174), Frank’s unofficial existence as a ‘boy’ without a birth certificate (13–14) nicely parallels a Scotland devoid of nationhood status post-Union (1707). His reiterated self-description as a guilt-ridden, fragmented individual possessing a ‘racist’ (63), ‘sick’ (78), and ‘destructive’ (80) dark side is employed – in an unsettling Jekyll-and-Hyde manner – to mirror the post-Union stereotype of Scotland as a schizophrenic nation

in Adapting Frankenstein
Trembling rocks in sensation fiction and empire Gothic
Shelley Trower

Englishness is disrupted (in part from within, by the evil Sir Percival, for instance, as well as by the foreignness of Italians), the effeminate protagonist Walter Hartright, in the process of developing suitably heroic masculine characteristics, reconstitutes a new kind of national identity, a blended aristocratic middle class. 23 This kind of internal challenge to a secure sense of nationhood can be

in Rocks of nation
Essence, difference and assimilation in Daniel Waters’s Generation Dead
Bill Hughes

familiar way, with US national identity, perverting the Enlightenment goals of ‘LIFE, LIBERTY AND THE PURSUIT OF HAPPYNESS [ sic ]’ (135). The opening speech by the state representative invokes a contrasting, liberal narrative of nationhood, which has incorporated the 1960s struggles of ‘American athletes’ like Jesse Owens and Billie Jean King against the ‘obstacles of injustice and hate’ of those who

in Open Graves, Open Minds