Search results
take care lest he become a monster’ (Nietzsche, 1989, 89), and the history of Ireland is one of fighting with monsters and in the process becoming monsters ourselves. The Count, the embodiment of this morbid condition, is the un-dead vestige of a remote past, descended from a once noble landed feudal lineage, but now decadent and corrupted. And not only do the un-dead aristocracy linger on, especially in the colonies, in places like nineteenth-century Ireland, but those who fight them, the modern bourgeoisie and bearers of Enlightenment, Reason and reform, become in
Nationalism has reasserted itself today as the political force of our times, remaking European politics wherever one looks. Britain is no exception, and in the midst of Brexit, it has even become a vanguard of nationalism's confident return to the mainstream. Brexit, in the course of generating a historically unique standard of sociopolitical uncertainty and constitutional intrigue, tore apart the two-party compact that had defined the parameters of political contestation for much of twentieth-century Britain. This book offers a wide-ranging picture of the different theoretical accounts relevant to addressing nationalism. It briefly repudiates the increasingly common attempts to read contemporary politics through the lens of populism. The book explores the assertion of 'muscular liberalism' and civic nationalism. It examines more traditional, conservative appeals to racialised notions of blood, territory, purity and tradition as a means of reclaiming the nation. The book also examines how neoliberalism, through its recourse to discourses of meritocracy, entrepreneurial self and individual will, alongside its exaltation of a 'points-system' approach to the ills of immigration, engineers its own unique rendition of the nationalist crisis. There are a number of important themes through which the process of liberal nationalism can be documented - what Arun Kundnani captured, simply and concisely, as the entrenchment of 'values racism'. These include the 'faux-feminist' demonisation of Muslims.
subsequent cuts and austerity measures) come plummeting after him, and just as he is picking himself up they land on his head and clobber him again. But Coyote always survives. An archetype, he is indestructible, like a vampire cursed to be forever un-dead; driven only by a thirst that is impossible to slake, he gets up, charred and smoking from the explosion, crushed and broken under the debris, and he repeats the cycle all over again. This is the horror of living in the modern wilderness where community and society have been eclipsed by the market. Like Coyote, we seem
comical ghost story The Ghost The Scottish dreamscape: spread65 Goes West (1935), in which an undead Scotsman and his castle are magically transported to contemporary Florida. But all these early Scottish visions were eclipsed by Vincente Minnelli’s Brigadoon (1954), a smash-hit musical that many consider Hollywood’s definitive take on Scotland to this day. In Brigadoon, two American tourists (Gene Kelly and Van Johnson) embark on a hunting trip in the Scottish Highlands, lose their way and stumble across an enchanted village where time stands still. The Americans are