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Madmen in the attic?
Amy Milne-Smith

). 4 M. McCormack, The Independent Man: Citizenship and Gender Politics in Georgian England (Manchester, 2005), p. 2. 5 Although, as Alexandra Shepard notes, this was one facet of the male identity, and was balanced by youth codes of riotous living and alternative masculine codes that valorized violence. A. Shepard, Meanings of Manhood in Early Modern England (Oxford, 2003), p. 16

in Out of his mind
Transnational harvest horror and racial vulnerability at the turn of the millennium
Sara Wasson

, you are nothing’. The screenplay writer Steve Knight recalls, ‘I thought the idea of a human heart in the toilet would be emblematic of the fact that a lot of people with talent who happen to migrate are wasted – their humanity is thrown away’. 76 Citizenship does not neutralise these asymmetries. Juliette, a Black British citizen, is triply marginalised due to her ethnicity, her class position, and her role as a sex worker. As she says, ‘I don’t exist, do I?’ As in the texts I discussed in Chapter 2 , these economic and social precarities are expressed

in Transplantation Gothic
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The asylum
Amy Milne-Smith

. 36 Bartlett, The Poor Law of Lunacy , p. 32. 37 As Marjorie Levine-Clark notes, it was specifically designed to penalize men who were no longer economically self-sufficient. Paupers had to give up their right to vote when they accepted relief. M. Levine-Clark, Unemployment, Welfare, and Masculine Citizenship: ‘So Much Honest Poverty’ in Britain, 1870–1930 (New York, 2015), pp. 4

in Out of his mind
Open Access (free)
Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Christina Morin

, politics, and geography, even when not explicitly about Ireland, as in the case of Clermont and Nocturnal visit . As they did so, they raised the questions of citizenship and national belonging so central to Irish Romantic literature as writers sought to make sense of political exile and increasing migration. In Roche's oeuvre , the act of moving and living outside of Ireland becomes, in Wright's terms, ‘a register of transnational politics, a differential space in which “here” is always tacitly juxtaposed with “there”, while “here” and “there” remain themselves

in The gothic novel in Ireland, c. 1760–1829
Patricia Duncker’s The Deadly Space Between and The Civil Partnership Act
Anne Quéma

heteronormative incest taboo betrays a rejection of what it regulates, pushing it back into the closet. The CPA functions as the ground on which the state through law reasserts exclusionary terms of identification and citizenship. In an act of regia potestas , the state through the law maintains kinship as the privileged nexus where nation, nativity and naturalness meet and where private and public spheres

in Gothic kinship
Couperus and colonial Gothic
Rosemarie Buikema

-Scholten, ‘Monogamous marriage and female citizenship’. 18 See Gayatri Spivak, ‘Three women’s texts and a critique of imperialism’. References Beekman, E.M., ‘Introduction’, in The Hidden Force (London: Quartet Books, 1992

in Gothic kinship
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Refiguring Dracula in a neoliberal age
Stéphanie Genz

consumer-agents who are responsible for their own success and failure. In a post-2008 world constrained by social and economic cut-backs and joblessness, this distorted notion of freedom further reinforces and validates acquisitive and competitive modes of citizenship that discard those who struggle to fulfil their consumer/civic duties, and accumulate (economic and human) capital

in Neoliberal Gothic
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Unburying Japanese figurality
Charles Shirō Inouye

its profoundly imaginative character. By way of hegemonic expressive systems, such as the realistic novel, a seamless unity of citizenship and patriotism is born. By way of this same modernising effort, the gothic, which finds itself outside the borders of both verisimilitude and traditional monotheistic standards, came to express anxiety and fear in a histrionic, horrible way. It eventually rendered

in Globalgothic
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Fear, the law and liquid modernity
Avril Horner

stream must be offthe books, maybe even illegal’. Fox does indeed provide Batman with a suit that enables him to become ‘lighter, faster and more agile’. The Dark Knight shows us a world in which information and money flows are stopped neither by physical boundaries, such as state borders and national boundaries, nor by metaphysical constructs, such as the law, ethics or an ideal of citizenship

in Globalgothic
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Washington Irving’s Gothic afterlives
Yael Maurer

estranged. The bloody nature of past wars destabilises comfortable notions of a historical narrative that would assure an ordered tale of citizenship and national pride. In ‘The Legend of Sleepy Hollow’, this incessant need to tell the tale of the Horseman and, later, of Ichabod Crane’s mysterious disappearance, stems from what Robert Hughes calls ‘a matter of history

in The Gothic and death