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Corporate medical horror in late twentieth-century American transfer fiction
Sara Wasson

donation, procurement, and transplantation, the United Network for Organ Sharing (UNOS), and Fortune magazine voiced a common criticism when it asked, ‘Will this emerging high-tech industry be run efficiently by dynamic entrepreneurs of the capitalist persuasion, or will it be semi-socialised and smothered by regulators?’ 16 In multiple ways, then, trends in economic management and political economy influenced expectations of transfer administration. The financial benefits that accrue from disaggregating bodies are manifold and exceed mere ‘organ sale’. Most

in Transplantation Gothic
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Towards an aesthetic context for William Blake's 'Gothic' form
Kiel Shaub

as in an ark & veil’ ( FZ 109:25; E 378) suggesting that Mystery, or the ‘making mysterious’ of Rahab was actually an attribute imposed upon her by an external agent (that is, she ‘was hidden’ by the Synagogue). They are the keepers of the fruit's delight and the regulators of those who may have access to it. Part of what emerges here is a clarification of the relationship between regulation and creation in the process of repetitive

in William Blake's Gothic imagination
Jonathan Bignell and Stephen Lacey

’ authored series ran up against the limits of this kind of ‘progressive’ intervention. The withdrawal of the programme’s sponsor, regulators’ investigations of complaints from interest groups about its sexual explicitness, and the question of who its audience may have been and how the programme may have addressed that audience, are considered. While Queer As Folk remains a landmark television drama in the ventilation of questions of sexuality and representation, attention to the text itself is insufficient without an understanding of the conditions that brought it to

in Popular television drama
The ghost story on British television
Helen Wheatley

series in the 1960s and 1970s, which fulfilled a dual remit for popular, entertaining television which would, it was hoped, attract a large and dedicated audience, and for respectable, culturally valued television drama, often adapted from the Gothic ‘classics’ (M.R. James, J.S. Le Fanu, Mary Shelley, Bram Stoker, etc.) which would appeal to television’s regulators as well as its viewers. The opening

in Gothic television