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Neoliberal gothic
Linnie Blake
Agnieszka Soltysik Monnet

. Carey , M. R. 2014 . The Girl with All the Gifts . London : Orbit . Dutton , David . 1991 . British Politics since 1945: The Rise and Fall of Consensus . Oxford : Blackwell . Goldacre , Ben . 2012 . Bad Pharma: How Drug Companies Mislead Doctors and Harm Patients . London : Fourth Estate . Gurtov , Melvin . 2006 . Superpower on Crusade: The Bush Doctrine in US Foreign

in Neoliberal Gothic
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Victoria Margree
Daniel Orrells
, and
Minna Vuohelainen

Egyptian-themed tales and was likely the best-selling of them’. Examining it alongside comparable tales by Conan Doyle, Stoker, Haggard and Boothby, Bulfin shows how The Beetle both conforms to many ‘Gothic Egyptian genre conventions’ and ‘dramatically exceeds’ them. Her reading reveals the political and ideological instability of the novel, showing how while it can be interpreted as a conservative text that paints a picture of a ‘monstrous Egypt’ in need of being ‘suppressed’, it also identifies British foreign policy on Egypt as a likely source of Egyptian nationalist

in Richard Marsh, popular fiction and literary culture, 1890–1915
Situating The Beetle within the fin-de-siècle fiction of Gothic Egypt
Ailise Bulfin

withdrawal from Egypt, it is fitting that Atherton concedes they were unlikely to have offended Egyptian sensibilities.56 It is possible Marsh was instead obliquely criticising this political view, suggesting that shirking foreign-policy responsibilities and taking a soft stance on the Egyptian Question could have devastating consequences for Britain.57 The ambivalence in Marsh’s text towards the politics of Egypt allows for both subversive, anti-imperial readings which see it covertly expressing Egyptian grievance against British policy as per Blunt and conservative

in Richard Marsh, popular fiction and literary culture, 1890–1915
Zombie pharmacology In the Flesh
Linnie Blake

ways in which neoliberal economics challenge the personhood of the citizen and, in so doing, deprive him or her of fundamental human rights. Indicted here are the economic changes of the past thirty years and their more pressing incarnations in the domestic and foreign policies of the UK’s Coalition Government. Here too is an affectionate yet broadly satirical evocation of the

in Neoliberal Gothic
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Marie Mulvey-Roberts

government for their strategic indifference to Ottoman atrocities. In his pamphlet, Bulgarian Horrors and the Question of the East (1876), he referred to the ‘murderous harvest’ from ‘soil soaked and reeking with blood’. 47 Bram Stoker dined with Gladstone on many occasions at the Beef Steak Room in London, where the government’s foreign policy and conduct of recent wars would have

in Dangerous bodies
Representations of the past in Clara Reeve’s The Old English Baron (1778)
Jonathan Dent

: 207–16). Due to aggressive foreign policy, England secured a ‘long-awaited hiatus in the civil wars as well as an absolute sovereignty over a sizeable portion of France’ (Coykendall 2005 , 452). Indeed, the action of The Old English Baron is set on something of a historical cusp; it is set in a time of martial success, in the afterglow of Henry V’s valorous deeds and just before the disastrous rule of Henry VI (he takes

in Sinister histories
Monstrous becomings in Abel Ferrara’s Body Snatchers
Jay McRoy

extension, social identity. No body is safe; everything is open to legislation. Nothing is what it seems on the surface – not the military chain of command that regulates domestic and foreign policy; not the ‘family unit’; not ‘human’ identity; and certainly not the narrative itself – whichever narrative one chooses to follow. The confrontation between a consolidated ‘human’ body

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

Reagan) In many ways, the US involvement in Latin American during the 1980s, and the example of Nicaragua in particular, is an especially potent memory to stir up right now, given the many similarities of that affair to currents in US foreign policy and the intervention in Iraq at the time of this writing. It is as if we are trapped in a recurring national dream – a dream about

in Monstrous adaptations
American Gothic television in the 1960s
Helen Wheatley

) Here the political identity of the United States, questions of national guilt and conspiracy, the treatment of Native American communities, the legacy of slavery and, more latterly, American foreign policy, dominate our understanding of the American Gothic. However, while this depiction of the American Gothic is compelling, there are others who see the national Gothic narrative as

in Gothic television