This article attempts to understand the importance of Dracula and The Lady of the Shroud in relation to the Eastern Question, and in particular with reference to the controversy caused by the Treaty of Berlin (1878). Centring on Dracula‘s speech on his ethnic origins, the author shows how Stoker has manipulated his sources in order to present his protagonist as being more decidedly involved in wars with the Turks than he in fact was, and in doing so to justify Disraeli‘s pro-Austrian and pro-Turkish line at the Berlin Treaty. In this the influence of Stoker‘s Turcophile brother George makes itself known. During the Bosnia crisis these views change, but are nevertheless in keeping with the conservative and patriotic line.
American zombie Gothic films have changed markedly in their tone, style, and structure
since September 11, an evolution that expands the Gothic mode to include the mobility of
the narratives protagonists, a popularisation of the movies, and an increased engagement
with a multi-ethnic international community. To remain timely, relevant, and commercially
viable, such alterations must occur, and these shifts in particular can best be explained
by the changing cinematic marketplace, the influence of videogames, and the policies and
anxieties resulting from the (inter)national trauma of 9/11 and the War on Terror. This
essay examines the film version of World War Z as a key text for exploring the current
transition from a localised siege narrative to an international kind of road trip movie, a
shift largely tied to the popularity of zombie-themed videogames.
Neoliberalism, Zombies and the Failure of Free Trade
The popular cultural ubiquity of the zombie in the years following the Second World War is testament to that monster‘s remarkable ability to adapt to the social anxieties of the age. From the red-scare zombie-vampire hybrids of I Am Legend (1954) onwards, the abject alterity of the ambulant dead has been deployed as a means of interrogating everything from the war in Vietnam (Night of the Living Dead, 1968) to the evils of consumerism (Dawn of the Dead, 1978). This essay explores how, in the years since 9/11, those questions of ethnicity and gender, regionality and power that have haunted the zombie narrative since 1968 have come to articulate the social and cultural dislocations wrought by free-market economics and the shock doctrines that underscore the will to global corporatism. The article examines these dynamics through consideration of the figure of the zombie in a range of contemporary cultural texts drawn from film, television, graphic fiction, literature and gaming, each of which articulates a sense not only neo-liberalism itself has failed but simply wont lie down and die. It is therefore argued that in an age of corporate war and economic collapse, community breakdown and state-sanctioned torture, the zombie apocalypse both realises and works through the failure of the free market, its victims shuffling through the ruins, avatars of the contemporary global self.
The nose, in physiognomical thought, is a feature of primarily ‘ethnical and … aesthetic’ significance rather than a profound index of character.
Though the Italian physiognomist Paolo Mantegazza (1831–1910) was to proclaim the nose ‘nearly immobile’ in its fleshy objectivity, and thus apparently unresponsive to emotion, that facial feature is not supported to its full extent by unyielding bone but rather by pliable cartilage.
Even in the death-mask, therefore
The September 2015 issue of British Elle and several other fashion magazines carried a pull-out advertisement for Ralph Lauren's Autumn/Winter 2015 collection. Shot by the celebrated British photographer Jimmy Nelson on location in Finnish Lapland, the sequence of images featured a northern-European-looking blonde woman (the Dutch model Sanne Vloet) dressed in a variety of luxurious furry garments and ethnic-style jewellery, accompanied by Siberian huskies and juxtaposed with pictures of reindeer. In one particularly striking, wide
Brutishness, discrimination and the lower-class wolf-man from The Wolf Man to True Blood
, impervious, protected with impunity through social status.
Just as there are multiple classes, castes, races and ethnicities, there are varieties of classic monsters. Thus, accompanying this elevated vampiric renaissance has been the werewolf, taking a subordinate place usually, like a familiar or loyal canine accompanying a more elegant master. Rather than being the privileged, evening-clothed, public-school creature of the night, the werewolf is undistinguished, lower-class, often relegated to the equivalent of a kennel rather than a castle
defiance, the work of the unnamed illustrator of the Vizetelly edition – likely its publisher Henry Vizetelly himself
– occupies an important place in the history of modern visual and literary depictions of Egyptian mummies and the sociopolitical discourses that they voiced. The Vizetelly illustration also embellishes Poe's vision, invoking contemporary racial theories about the ethnic identities of ancient Egyptians. An artist must necessarily reference the tone of a subject's skin, where a writer might leave such
Neurosis and the British Soldiers of the First World War (New York, 2002); F. Reid, Broken Men: Shell Shock, Treatment and Recovery in Britain 1914–30 (New York, 2010); B. Shephard, A War of Nerves: Soldiers and Psychiatrists in the Twentieth Century (Boston, 2003).
J. Bourke, ‘Effeminacy, Ethnicity and the End of Trauma: The Sufferings of “Shell-Shocked” Men in Great Britain and Ireland, 1914–1939’, Journal of Contemporary
Frankenstein meets H.P. Lovecraft’s ‘Herbert West – Reanimator’
Jeffrey Andrew Weinstock
monsters in general as ‘meaning machines’ that condense multiple social anxieties into one supersaturated form, the Creature in Frankenstein , the debased copy of a copy (God → man → thing), with its giant stature, yellow shrivelled skin, and black lips, has been addressed as a monstrous composite of class difference, ethnic otherness, and anxieties over bodily integrity. It is both literally and figuratively one body created out of many. David McNally’s extensive reading of Frankenstein in Monsters of the Market: Zombies, Vampires, and Global Capitalism – echoing
-century colonial project. However, a number of recent studies have observed that the Nordic nations were in fact active participants in various colonial projects inside and outside the nation's borders. As argued by Keskinen et al in Complying with Colonialism: Gender, Race and Ethnicity in the Nordic Region ( 2009 ):
[N]orth-European countries have taken, and continue to take, part in (post)colonial processes. The lure of an enterprise as powerful and authoritative as the Western civilising project, attracts