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Nineteenth-century stage Cleopatras and Victorian views of ancient Egypt
Molly Youngkin

novel Cleopatra as just as ‘dull’ and ‘stale’ as the Egyptian Question. 68 Yet there was enthusiasm for Cleopatra in other forms of entertainment. A humorous piece about the Shah of Iran's 1889 visit to London reports that the Shah ‘positively smiled’ when he saw the ballet Cleopatra at the Empire Theatre, 69 and the author of the 21 September 1889 ‘Our Booking-Office’ column, possibly one of the daughters of Punch editor Francis Cowley Burnand

in Victorian literary culture and ancient Egypt
Abstract only
Corporate medical horror in late twentieth-century American transfer fiction
Sara Wasson

countries have made it illegal to sell most human material; there are exceptions, such as Iran where living kidney sale is legal, and the market in blood in the US. Yet even in countries where organs cannot be legally sold, transfer is a nexus for significant cash and capital flow. Economically speaking, transfer is exceptionally generative in the labour that maintains procurement allocation and distribution networks, the cost of the surgery, the cost of ongoing medical surveillance, ongoing pharmaceutical profit from lifelong immunosuppression, and the cost of treating

in Transplantation Gothic
Transnational harvest horror and racial vulnerability at the turn of the millennium
Sara Wasson

question of who owns tissue can be hotly contested, as seen in the case of John Moore v Regents of the University of California (1990). 23 Moore fought to have rights recognised to his cancer cell tissue that had been developed into a profitable immortal cell line. When it comes to transplantation, almost every country in the world has laws against selling solid organs (with the notable exception of Iran), and multiple international resolutions and guidelines condemn such transactions, including The Council of Europe Convention on Human Rights and Biomedicine (1997

in Transplantation Gothic
Swamp Thing and the intertextual reader
Michael Bradshaw

to direct opprobrium against those who harm the environment, as discussed in detail by Maggie Gray in Chapter 3 above. The story is a deep-Southern-US enactment of anti-Thatcherite politics, the periphery of the main plot littered with newspaper reports – both documented and fictional – of corporate greed, chemical pollution, the Iran

in Alan Moore and the Gothic Tradition
The Gothic legacy of Shakespeare’s Wars of the Roses
Elisabeth Bronfen and Beate Neumeier

cast Elizabeth’s successful battle against the Spanish Armada in contemporary political terms. If, in Fire Over England (1937), the adversary Spanish King resembles the fascist dictator Franco, in Shekhar Kapur’s recycling he resembles Ahmadinejad of Iran. 6 The correspondence between these recent films (recycling as they do an earlier decade of cinematic royalty) and

in Gothic Renaissance
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Writing popular culture in colonial Punjab, 1885– 1905
Churnjeet Mahn

sub-branch in Punjab through the introduction of the form from Iran and Afghanistan. The qisse is based in performance, with musicians becoming associated with particular types of qisse in different regions. As a form closely connected to Sufism, it developed with a strong philosophical basis, which often wove together historical fact with local legends, and regionalised practices of faith and worship. Because of their length in performance, qisse often take an epic form with rhyming couplets and repeated

in Interventions
Neil Cornwell

, passim; Gelder 1994 : 38-41; Rickels 1999 : 1-14. For more specialist studies, see Perkowski 1976 ; 1989 , especially 18-34 on Slavic (Balkan and ultimately perhaps Iranian) origins, and 32-34 on the etymology (almost certainly Slave – Bulgarian, Macedonian, South Serbian) of vampir; and Bogatyrev, 1998 . For a succinct general vampire summary, though, see Hughes 1998

in European Gothic
Adapting the metaphor of psychopathology to look back at the mad, monstrous 80s
Ruth Goldberg

even they react in horror to the larger pathology of American culture, the films also force us to position ourselves in relation to the American cultural landscape, as if it were an additional character in these films, another monster on the loose. It is interesting to note that in both Donnie Darko and American Psycho this positioning happens in relation to historical footage of the Iran

in Monstrous adaptations
National identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring
Linnie Blake

of horror cinema, specifically those Japanese horror films most recently subject to adaptation in the United States. Over the past fifteen years, as the United States has sought to increase its international influence over the strategically significant nations of Afghanistan, Iraq, Iran and North Korea, it is notable that there has been an exponential increase in the availability, and hence consumption, of Japanese films

in Monstrous adaptations