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Claire Nally

Whilst the focus of much criticism has addressed goth as a subculture, considerably less attention has been given to the gendered status of marketing and advertising in subcultural magazines, whilst ‘glossy’ goth magazines have enjoyed little concerted analysis at all. Subcultures are frequently represented by participants and critics as ‘idyllic’ spaces in which the free play of gender functions as distinct from the ‘mainstream’ culture. However, as Brill (2008), Hodkinson (2002) and Spooner (2004) have identified, this is unfortunately an idealistic critical position. Whilst goth men may embrace an ‘androgynous’ appearance, goth women frequently espouse a look which has much in common with traditional feminine values. Slippages between subcultural marketing and mainstream advertising are frequent and often neotraditional in their message regarding masculinity and femininity. In using critiques of postfeminism alongside subcultural theory, I seek to reevaluate how gender functions in these publications. By close inspection of scene representations of ‘goth’ in the twenty-first-century through magazines such as Gothic Beauty (US), Unscene and Devolution (UK), as well as interviews with participants, I argue women’s goth fashion, sexuality and body image often (but not exclusively) represent a hyperfemininity which draws from conventional ideas of womanhood.

Gothic Studies
Nordic Gothic and colonialism
Johan Höglund

-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

in Nordic Gothic
Trance in early modern Scotland
Georgie Blears

Edward Bever’s The Realities of Witchcraft and Popular Magic in Early Modern Europe , which sets out to demonstrate how early modern supernatural experiences were real from a neurobiological perspective. 4 Bever acknowledges the value of cultural historians’ analyses of the social function of supernatural stories, but argues that neurocognitive explanations for supernatural experiences also deserve ‘a place at the table’. 5 His work has proved controversial, with some regrettably polarised positions being taken by some participants in the debate including Bever

in The supernatural in early modern Scotland
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Maria Holmgren Troy
,
Johan Höglund
,
Yvonne Leffler
, and
Sofia Wijkmark

between Gothic and imperialism, very little of the scholarship that exists on Nordic Gothic has considered this dimension. Höglund argues that this should be attributed not only to a general academic reluctance to look beyond Anglophone Gothic, but also to the widespread belief that the Nordic countries remained outside the nineteenth-century colonial project. Referring to several studies that show that the Nordic nations were, in fact, eager participants in the colonial project, Höglund's chapter then discusses a number of late twentieth and early twenty-first century

in Nordic Gothic
A typological reading of H. Rider Haggard’s Cleopatra
Sara Woodward

complicated relationship to traditional Protestantism. By transposing a loose typological symbolism onto his novel, Haggard creates an imaginative space through which his readers can engage with thoughts on faith, atonement and the afterlife. This space allows them to look at Harmachis's narrative not as a microcosm of the pagan past but instead as an active participant in their own Judaeo-Christian story. Harmachis is not just a fallen priest of Isis; he is a type of Christ and mirrors the historical type of Moses whose shortcomings and failings teach

in Victorian literary culture and ancient Egypt
Pharos the Egyptian and consumer culture
Eleanor Dobson

iconography of ancient Egypt invite us to reconsider the Victorian novel as a material as well as a textual artefact, responsive to an ever-broadening pool of genuine relics, their replicas and representations, on the one hand, and participating itself as an object within consumer culture, on the other. It has long been the case that artistic boundaries have been perceived to exist between movements such as decadence and the more mainstream culture against which its participants reacted and from which they sought to break free. Reinforcing these divides in academic

in Victorian literary culture and ancient Egypt
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Bodies dis(re)membered: Gothic and the transplant imaginary
Sara Wasson

failure and death. For the majority of the twentieth century, transplantation of internal organs failed painfully. Historiographers of transplantation handle those decades of suffering in a variety of ways, choosing variously to emphasise the determination of surgeons and researchers, 94 the bravery of patients willing to accept experimental practices, 95 or the agony of participants, both human and non-human, that attended the decades of unsuccessful experiments. 96 Extreme striving and suffering are interwoven in the history of tissue transfer, and even now, Morris

in Transplantation Gothic
Transformations and animal selves in contemporary women’s poetry
Polly Atkin

ultimate act of violence … transformation of the body further becomes a way of exploring power, control and freedom. 33 The course aimed to ‘us[e] the body as [a] starting point’ and ‘encourage [participants] to think about (and with) the body in a different way’. The complete absence of wolves from ‘How I Abandoned My Body to His Keeping’ is particularly telling read through this. Wolves, in Moore

in In the company of wolves
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Phantoms, fantasy and uncanny flowers
Sue Edney

’ (Luckhurst 2002 ) into the flowerbed and greenhouse concentrates affective experience and place, permitting close readings of uncanny in micro-environments that influence and reflect universal conditions and anxieties without diluting their power. These may be uncovered in the vegetal body itself or in the arrangement of vegetation and other material in managed spaces, or in the discomfort felt by human participants in a world seemingly over-filled with Others. It is my argument here that the distinctive combination of ecocriticism with Gothic and the

in EcoGothic gardens in the long nineteenth century
Transnational harvest horror and racial vulnerability at the turn of the millennium
Sara Wasson

, often longstanding. The agent-not-victim binary is central to neoliberal efforts to normalise exploitative harvest. Radcliffe-Richards unwittingly illustrates the influence of the binary when she says, ‘sellers themselves are usually willing, even eager, participants in the exchange. No doubt they are encouraged and often misled by enterprising brokers, but we know that there are many who actively volunteer, and seek out the opportunity.’ 30 The compound conjunction ‘but’ sets those who ‘actively volunteer’ in a different category from those who are misled. Here

in Transplantation Gothic