Truman Capote, Breakfast at Tiffany‘s and Hollywood
This essay examines some of the literary and biographical models Truman Capote drew
on in the creation of Holly Golightly, the heroine of his 1958 novella Breakfast at
Tiffany‘s. Making use of Paramount studio records, the essay also explores the
complex process of adapting the story to the big screen. Numerous changes were made
so as to transform Capotes story into a romantic comedy, and thus to contain Holly‘s
liberated sexuality while also erasing any doubts about the male protagonists
heterosexuality. Casting Hepburn as the female lead helped to neutralize Holly‘s
sexual transgressiveness, and it sexualized the stars ethereal persona.
Although many Gothic novels conclude with contained restorations of patrilineal inheritance, others subvert primogeniture by perpetuating birthright through a non-traditional line. Such transgressions of Gothic primogeniture become even more pronounced during the Romantic era - particularly in the works of Byron, such as Cain and Don Juan. In the latter, Juan‘s nuptial dilemmas reflect several primogenitary issues of deep concern during the eighteenth century - including the preservation intact of patrilineal property, the containment of an increasing marriage age, and the extension of political alliances through marital exogamy. At the same time, these primogenitary issues also reveal a striking parallel between the handing down of inheritance and the handing down of texts. Finally, such a parallel also extends to the economic foundation of both inherited and textual property. As a result, Byron‘s poetry links both realms to Malthusian demographics, female commodification, and the paper currency crisis of the era.
Gothic, Romantic and Poetic Identity in Shelley‘s ‘Alastor’
This essay considers the relationship between Gothicism and romanticism and explores the impact of postmodernist constructions of a ‘new Gothic’ on contemporary views of romanticism. It argues that the former has affected the latter not only by foregrounding the presence of darker elements in the discourse of romantic idealism, but also by demonstrating the ambiguous continuities and conjunctions within that discourse between transcendence and transgression, idealization and dissolution, eternity and temporality. Taking ‘Alastor’ as an example, the essay seeks to show how the poem draws upon the legacy and the vocabulary of Gothicism to problematize the quests for transcendence and poetic identity that form its core. The essay argues, further, that Shelley, as a second-generation romantic, draws upon the Gothic to express his skepticism about and to explore the antithetical elements in first-generation Wordsworthian romanticism.
Money, Commerce, Language, and the Horror of Modernity in ‘The Isle of Voices’
Money, not merely as subject in literature but also in its very form and function, exhibits qualities of spectral evanescence, fetishised power over the imagination, and the uncontrollable transgression of boundaries and limits, which closely parallel the concerns and anxieties of Gothic literature. Yet it is in the writings of economic theorists and commentators on market society like Adam Smith and Karl Marx that these Gothic anxieties about money are most clearly articulated. Stevensons short story ‘The Isle of Voices’, read in the context of his comments on money in his other writings, is one of the few fictional texts which uses these properties of money to create what might be called a ‘financial Gothic’ narrative, which nevertheless has insights and implications for the narratives of capitalist modernity in general.
In recent years Dickens‘s use of Gothic has been the focus of some diverse and absorbing critical interpretations. This paper seeks to address in more detail the ways in which Gothic features in Dickens‘s various responses to the law in his work. Scenes of madness, hauntings and murder all feature as ways of punishing transgressive individuals in the form of melodramatic substitutes to state law in OliverTwist and Barnaby Rudge, and the Gothic affects justice in later novels such as LittleDorrit.,As Bleak House illustrates, the Gothic also enhances the horror of the law. Dickens employs the genre in different ways within specific texts, such as ThePickwick Papers. How the diverse uses of Gothic pertain to the law in Dickens‘s fiction are considered in this paper.
Postfeminist Vampirism in Margaret Atwood‘s The Robber Bride
The article examines Margaret Atwood‘s The Robber Bride in terms of Gothic imagery and postfeminist politics. The novel depicts three characteristically second wave women whose lives are disrupted by Zenia, the embodiment of postfeminism. Zenia threatens the stability of the women and they respond to her with both loathing and desire, experiencing her as a vampire feeding on their lives. The Robber Bride connects the subversive power of Gothic to the multiple identities, transgressions and instabilities of postfeminism. Using a common second wave feminist psychoanalytic rereading of Gothic terror as fear of confinement, I suggest that Atwood‘s depiction of Zenia as a Gothic figure points to some concerns about second wave feminist politics. The location of Zenia as both Self and Other raises questions about postfeminisms situation as a reactionary backlash against feminism, and equally as a liberal politics that many late twentieth-century women were increasingly identifying with.
James Baldwin, the Religious Right, and the Moral
In the 1980s, James Baldwin recognized that a major transformation had occurred in the
socio-political functions of religion. His critique adapted accordingly, focusing on the
ways in which religion—particularly white evangelical Christianity—had morphed into a
movement deeply enmeshed with mass media, conservativepolitics, and late capitalism.
Religion in the Reagan era was leveraged, sold, and consumed in ways never before seen,
from charismatic televangelists, to Christian-themed amusement parks, to mega-churches.
The new movement was often characterized as the “religious right” or the “Moral Majority”
and was central to both Reagan’s political coalition as well as the broader culture wars.
For Baldwin, this development had wide-ranging ramifications for society and the
individual. This article draws on Baldwin’s final major essay, “To Crush the Serpent”
(1987), to examine the author’s evolving thoughts on religion, salvation, and
transgression in the context of the Reagan era.
Giovanna Maina, Federico Zecca, Danielle Hipkins, and Catherine O’Rawe
This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour with Harvey Weinstein and Jimmy Bennett was interpreted in the Italian public sphere.
of selfhood and right to participate in this world. Moreover, violence is absolutely integral to the markings of subjectivity, setting apart claims about identity, along with notions of civility and barbarism. Violence is always mediated through expressed dichotomies between acceptable and unacceptable behaviours, between the right to punish and the intolerable transgression, between the force of normative law and the terror of the minority. In fact, there is an entire political ecology at work in the very diagnosis of something as political violence in itself
( 2016 ), The Seductions of Quantification: Measuring
Human Rights, Gender Violence, and Sex Trafficking ’
( Chicago : The University of
Chicago Press ).
( 2015 ), ‘ Interventionism as Practice: On
“Ordinary Transgressions” and Their
Routinization ’, Journal of Intervention and