The European Gothic novel was an enormous influence on nineteenth-century Russian fiction, as shown by the works of Pushkin, Dostoievskii and many other major novelists. However, both Russian and Western critics have ignored the survival of Gothic-fantastic themes and motifs in Russian literature of the Soviet period, not only in fiction by dissident writers but also within the officially promoted genre of Socialist Realism. The Gothic-fantastic mode continued to function as a resource for satire, speculation, and ideological re-evaluation throughout the Soviet period and up to the present day. This article identifies and analyses three Gothic texts selected from mainstream Soviet literature between 1920 and 1940 and discusses their interaction with ideological trends.
The article notes a trend towards low-key naturalism in twenty-first-century independent queer cinema. Focusing on work by Andrew Haigh, Travis Mathews and Ira Sachs, it argues that this observational style is welded to a highly meta-cinematic engagement with traditions of representing non-straight people. The article coins the term ‘New Gay Sincerity’ to account for this style, relating it to Jim Collins’s and Warren Buckland’s writing on post-postmodern ‘new sincerity’. At its crux, this new style centres itself in realism to record non-metropolitan, intimate and quotidian gay lives, while acknowledging the high-style postmodernism of oppositional 1990s New Queer Cinema.
Del Principe argues that a compelling historical and political vision of post-unification Italy lies beneath the preternatural façade of Ugo Tarchettis Fantastic Tales, and that the authors transgressive approach to social realism is a reflection of the vast, cultural transformations of the period. Del Principe proposes correlations between sexual and political realms surfacing in Tarchettis narrative as indicators of mutating class structure and emerging capitalism. An examination of spatial allegories engages a discussion of psychic and physical modes of hysteria and xenophobic reactions that stem from the nationalistic fervor of post-unification Italy.
Introduction This strategy is guided by principled realism. It is realist because it acknowledges the central role of power in international politics, affirms that sovereign states are the best hope for a peaceful world, and clearly defines our national interests… We are also realistic and understand that the American way of life cannot be imposed upon others, nor is it the inevitable culmination of progress . The White House, ‘National Security Strategy of the United States of America’ ( The White House, 2017
The aim of this article is twofold. On the one hand, it offers a survey of found footage horror since the turn of the millennium that begins with The Blair Witch Project (1999) and ends with Devils Due (2014). It identifies notable thematic strands and common formal characteristics in order to show that there is some sense of coherence in the finished look and feel of the films generally discussed under this rubric. On the other hand, the article seeks to reassess the popular misunderstanding that found footage constitutes a distinctive subgenre by repositioning it as a framing technique with specific narrative and stylistic effects.
Mahawatte explores George Eliot‘s use of the Gothic in Middlemarch (1871–72) and in particular the literary connections between Dorothea Casaubon and the heroine of the Gothic novel. He argues that Eliot has a conflicting relationship with this figure, at once wanting to satirize her, and yet also deploying Gothic images and resonances to add an authenticity of affect to her social commentary. Using Jerold E. Hogle‘s idea that the Gothic re-fakes what is already read as a copy, Mahawatte presents Dorothea as a quasi-reproduction of Sophia Lee‘s heroines in The Recess; or, A Tale of Other Times (1783–85) and also as part of a Gothic process within a social realist novel.
In a 1961 interview with the journalist Studs Terkel, James Baldwin offered a riveting assessment of Bessie Smith’s “Backwater Blues.” “It’s a fantastic kind of understatement,” Baldwin tells Terkel. “It’s the way I want to write.” Baldwin hears something in Bessie, a sonic and discursive quality he aspires to and identifies as “fantastic.” This essay considers the speculative undertones of Bessie’s blues and Baldwin’s literary realism. I argue that Bessie’s doubled vocalization in “Backwater Blues” lyrically declares her immobility and circumscription, while tonally staging freedom and boundlessness. Baldwin is drawn to this dual orientation and enunciation, a vocalization that in its iteration of the real transcends the social, spatial, and imaginative limitations of that order. If we read “Sonny’s Blues” the way Baldwin hears Bessie, as a fantastic kind of understatement, we discern subtle sonic and spatial iterations of the irreal. Attending to microtonal sounds in “Sonny’s Blues”—screams, whistling, jukeboxes—I show that the speculative emerges in Baldwin’s story when the sonic overrides the racialized inscription of space.
once authored, not because of his own idiosyncratic way of doing politics but because of the strategic realignment that his presidency represents. According to Trump, his administration’s security strategy is guided by ‘principled realism’. The apparent incoherence of his foreign policy is as indicative of what this entails as his specific interactions with other governments. With every diplomatic encounter imagined as a stand-alone opportunity to strike a winning ‘deal’, the norms-based, multilateral system of global governance becomes
ecological degradation who should be most deserving of our respect and attention. Violence Comes Easily to Humans A picture of impending dystopian realism is part of the contemporary reckoning 4 . Collapse, anarchy, violence – the surest signs the explosive potential was always there. We might make a crude point here and say that if our basic level instinct is survivalist, and this in turn has shaped the prevailing account of politics as a means to protect life from its unmediated desires, then every human has a violent impulse deeply woven into consciousness and
change in world-experience. What is often called post-humanism ( Braidotti, 2013 ) brings several contemporary positivist stands together. These include the new empiricism, speculative realism and actor network theory. Post-humanist thought draws on process-oriented behavioural ontologies of becoming. These privilege individuals understood as cognitively limited by their unmediated relationship with their enfolding environments ( Galloway, 2013 ; Chandler, 2015 ). An individual’s ‘world’ reduces to the immediate who, where and when of their