In their introduction to Rogue
Flows: Trans-Asian Cultural Traffic , Iwabuchi, Muecke and Thomas
suggest that ‘the globalisation of media and popular/consumer
culture is still based upon an assumption of unbeatable Western
(American) domination, and the arguments are focussed on how the Rest
resist, imitate or appropriate the West’ ( 2004 : 9). In these terms manifestations of the gothic within
Colonising Europe in Bram Stoker‘s The Lady of the Shroud
Postcolonial criticism is preoccupied for the most part with the implications and the cultural consequences of European interference in a vaguely delineated territory which could best be termed `the East‘. This statement, which might justifiably be regarded as being simplistic, provocative or even mischievous, must however be acknowledged as having some currency as a criticism of an occluded though still discernible impasse within an otherwise vibrant and progressive critical discourse. The postcolonial debate is, to borrow a phrase from Gerry Smyth, both characterised and inhibited by a `violent, dualistic logic‘ which perpetuates an ancient, exclusive dichotomy between the West and its singular Other. In practical terms, this enforces a critical discourse which opposes the cultural and textual power of the West through the textuality of Africa, Asia and the Far East rather than and at the expense of the equally colonised terrains of the Americas and Australasia. This is not to say that critical writings on these latter theatres of Empire do not exist, but rather to suggest that they are somehow less valued in a critical discourse which at times appears,to be confused by the potentially more complex diametrics implied in the existence of a North and a South.
11), while in Turistas (dir. John Stockwell, 2006 ) American backpackers are disembowelled
to ‘donate’ organs to poor Brazilian children in a
bizarre act of moral retribution.
The Asian continent is predominantly portrayed as the
exploited periphery in such narratives, continuing the legacy of
western colonial/imperialistic representation that saw it as the
recognisably Nordic geographies, there is some Gothic that occurs in, or connects to, Nordic colonialism practised in the Global South. As described below, several Nordic nations had overseas colonies in Asia, Africa, North America and the Caribbean, and these colonial endeavours also left a mark on Nordic culture. As Elisabeth Oxfeldt has observed in Nordic Orientalism: Paris and the Cosmopolitan Imagination 1800–1900 ( 2005 ),
Norwegian and Danish artists contributed during the nineteenth century to what Edward Said has
of the double into a narrative about the civilised and primitive parts of a man's ego.
Fin-de-siècle writing, early filmmaking and interwar Gothic
In Britain, as in many other European nations, the late nineteenth century was a period of fervent colonial expansion into Africa and Asia, but also a time of increasing geopolitical turmoil and, as the century drew to a close, of fin-de-siècle anxiety. The emergence of the ‘new woman’, degeneration fears, class turmoil, economic depressions and
Brutishness, discrimination and the lower-class wolf-man from The Wolf Man to True Blood
drinking. Colton, a homosexual with a penchant for lower-class types, set the monster's attacks in tawdry milieus that he himself was known to frequent.’
Glendon's own transformation into a wolf can be halted – temporarily – by the rare plant mariphasa , but this disease contracted in the sinister East cannot be permanently cured. Glendon has sacrificed himself for British science, but he has been infected by an Asian infidel for trying to engage in civilised research in a
Transnational harvest horror and racial vulnerability at the turn of the millennium
passage of time. 54 Ethnographic research in other South Asian contexts has also yielded evidence of psychological suffering and social stigma. 55
Set in the future in 2010, fifteen years after the time of writing, Padmanabhan’s play sets the entirety of its action in a humble urban apartment. It is home to Om, a young man; his wife Jaya, Om’s mother ‘Ma’, and sometimes Om’s brother Jeetu, with whom Jaya is having a clandestine affair. The household is in crisis, Om struggling to find employment after losing his post as a clerk. He signs up with InterPlanta, an
A typological reading of H. Rider Haggard’s Cleopatra
was the result of textual analysis of primarily non-Buddhist texts, such as the accounts of Buddhism from Christian missionaries, throughout the early nineteenth century which contributed to an overarching mode of discoursing about the religion predicated upon Western ideals.
These discourses were developed in the popular representations of Buddhism's founder, Gautama Buddha, in three book-length poems, the most popular of which was Sir Edwin Arnold's bestseller The Light of Asia: Being the Life and Teaching of
translated authors in the world along with Shakespeare and Karl Marx”’.
He travelled widely in Europe and Asia Minor, contributed to genres such as travel writing, drama, autobiography, poetry and fictional prose of different kinds and gained international recognition during his lifetime. Both then and today, he was and is most appreciated as a writer of fairy tales and stories for children or, more accurately, a crossover audience, and the first part of this chapter will focus on three of his most famous fairy tales
Asian third-person survival horror most often does not encourage the gamer to resolve issues through combat or violence and will often force the avatar to flee from confrontation.
The survival horror game genre emerged out of Japan in the late 1980s and early 1990s and migrated to other national and international contexts. Nordic game developers have also created games that belong to it and such a game is the critically well-received Little Nightmares (2017) by Swedish Tarsier Studios, distributed by Japanese