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like, for example, the Skaters has had constantly to chop and change in order to keep one step ahead of its trendy imitators, the Goths (like Dracula) have had the luxury of timelessness. 75 Like Dracula, Gothic fashion is constantly revisited by the trope of the undead. It is continually undergoing a ‘revival’, despite the
This book investigates the functioning of Gothic clothing as a discursive mechanism in the production of Gothic bodies. It presents the debates surrounding the fashion for decolletage during and immediately following the French Revolution, linking these discourses with the exposure of women's bodies in Gothic fiction. The popularisation of the chemise-dress by Marie Antoinette, and the subsequent revival of the classical shift by the women of the Directory, inflected the representation of female Gothic bodies in this period with political rhetoric. The book examines the function of clothing in early to mid-Victorian Gothic. It suggests that the Gothic trappings of veil and disguise take on new resonance in the literature of the period, acquiring a material specificity and an association with discourses of secrecy and madness. The book also investigates a nexus of connections between dandies, female-to-male crossdressing, and monstrosity. It then traces the development of the female doppelganger in the twentieth century, according to the ideologies of femininity implicated in contemporary women's magazines such as Cosmopolitan. In a world where women are encouraged to aspire towards an ideal version of themselves, articulated through fashion and lifestyle choices, the 'single' girl is represented as a problematically double entity in Gothic texts. The book examines the revival of Gothic style in the fashions of the 1990s. Gothic fashion is constantly revisited by the trope of the undead, and is continually undergoing a 'revival', despite the fact that according to popular perception it has never really died in the first place.
Hochschulreform (Frankfurt am Main, 2010), pp. 11–12; Mitchell G. Ash, ‘Humboldt the Undead: Multiple Uses of “Humboldt” and His “Death” in the “Bologna” Era’, in The Humboldtian Tradition, ed. by Josephson, Thomas Karlsohn, & Östling, p. 85. Parts of this chapter are based on Östling, ‘Humboldts idé’; Johan Östling, ‘Universitetets historia: Humboldttraditionen som akademiskt historiemedvetande’, in Historiens hemvist: Etik, politik och historikerns ansvar, ed. by Patricia Lorenzoni & Ulla Manns (Göteborg, 2016); and Johan Östling, ‘Universitetets moderna tid’, in Tiden
’. 37 These monsters literally turned the upper classes into the undead: ‘they have been struck dumb – their senses are frozen’. Similar to the accusations that we saw Cobbett level in chapter 1 , Oastler links the charge of unfeeling with deadened or hardened senses, which inverts the charge of inhumanity visited on the poor by some as a way of defending the factory system and a cruel poor law
of death. These papers and parchments, so long deserted, desired no better than to be restored to the light of day.’ He did not say that he had heard them, exactly; he apprehended them; was conscious of them: ‘Toutefois je ne tardai pas à m’apercevoir dans le silence apparent de ces galeries, qu’il y avait un mouvement, un murmure qui n’était pas de la mort.’ He told the dead, or the undead, how and in what manner they should emerge from their tombs: ‘Softly my dear friends, let us proceed in order if you please …’. Then, as he ‘breathed their dust, I saw them rise
. 13. STEEDMAN 9781526125217 PRINT.indd 239 16/02/2018 13:07 240 Part II: Historiography years on. The happening exists in the telling or the text; it is made out of a Past undead, but that isn’t there in an archive, or anywhere else. It lives, or exists (no past dies) because we believe in the irreducibility of matter, that nothing goes away; its not-dying is in our imagination, and our writing out of it. We should be entirely unsurprised that literary deconstruction made no difference to this kind of writing. When Jacques Derrida decried (or maybe just
categorisation.44 We should also note that, in Plato’s Phaedrus, writing is described as an undead, ghostly form that, in getting into the wrong hands, and repeating itself endlessly, spreads confusion. In Eadie’s benevolent account, however, the indeterminacy of books has here been eradi cated: God chooses ‘the publisher’ and ‘the media’, and solves the book’s taxonomic difficulty, or what Eadie refers to as ‘the placement problem’. Being ‘too Christian’ and ‘too New Age’ for some bookstores, the book ‘could be anywhere, and was usually in more than one section at once
end of empire’, Constellations 35.1 (2018), 26. 91 Max Haiven, ‘Undead ideologies: Necro-neoliberalism, necro-Keynesianism and the radical imagination’, The Media Co-op , 27 June 2011, available at https://www.mediacoop.ca/blog/max-haiven/7610 (last accessed 28 March 2022). 92 Peter James Hudson, Bankers and Empire: How Wall Street colonized the Caribbean (Chicago, IL: University of Chicago Press, 2017), p. 89
’. 29 A nightmarish translation of this discerning vision, Ruthven’s gaze appears locked onto the surface, unable to pass the barrier of the visible to achieve depth of perception and understanding. He is the dandy as undead, Carlyle’s ‘(stuffed) parchment-skin’ – although interestingly the parchment-skin is displaced onto those he views rather than his own body. Ruthven’s gaze propagates
the Court of Arbitration and Conciliation noted in 1934 that ‘the Northern Territory is in the peculiar position that she produces practically nothing of any particular account which brings in revenue for the Territory or any income for its people’. The anthropologist W. E. H. Stanner argued in 1939 that ‘economically speaking, the north has been dying on its feet for twenty years’, and Prime Minister John Curtin, speaking at a Conference of Commonwealth and State Ministers on postwar reconstruction in October 1944, preferred to speak of parts of the north as undead