Search results

You are looking at 1 - 10 of 16 items for :

  • Refine by access: All content x
Clear All
Abstract only
1990s style and the perennial return of Goth
Catherine Spooner

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

in Fashioning Gothic bodies

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.

Anikó Imre

here’, as the character Peter famously explains. This image of the cannibalistic undead highlights an entire set of connections among capitalism, colonisation, and consumption, which can be traced back to Marx's own reliance on cannibalistic figures such as the vampire and the zombie, to describe capitalist exploitation. 39 Taking Night as a turning point in the history of horror film, which puts the allegorical white zombie at the heart of racial capitalism, opens a

in Off white
Open Access (free)
Johan Östling

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

in Humboldt and the modern German university
Femininity, early goth aesthetics and BDSM fashion
Claire Nally

. 8 Samantha Holland, Alternative Femininities: Body, Ages and Identity (London: Berg, 2004), p. 85. See also David Shumway and Heather Arnet, ‘Playing Dress Up: David Bowie and the Roots of Goth’, in Lauren M.E. Goodlad and Michael Bibby (eds), Goth: Undead Subculture (Durham: Duke University Press, 2007), p. 138. 9 Paytress, Siouxsie , p. 103

in Let’s spend the night together
Abstract only
Richard Oastler and Tory-radical feeling
Matthew Roberts

’. 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

in Democratic Passions
Mnemotechnics and the ghost of ‘the folk’
Sas Mays

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

in The machine and the ghost
Carolyn Steedman

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

in Poetry for historians
Abstract only
Carolyn Steedman

. 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

in Poetry for historians
Imperial extraction and development’s ‘private sector turn’
Paul Robert Gilbert

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 (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

in Imperial Inequalities