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Gothic Parody in Gibbons, Atwood and Weldon
Avril Horne and Sue Zlosnik

This essay examines a particular kind of female Gothic. Seizing the moment at which features of Gothic form had become sufficiently established to become part of a cultural inheritance, some twentieth-century women writers, we argue, created comic Gothic fictions that extended the boundaries of potential feminine identity. Stella Gibbon‘s Cold Comfort Farm pits an Austen sensibility against a rural Radcliffean scenario and proceeds to parody both as literary ancestors of a contemporary narrative of femininity. Fay Weldon‘s The Life and Loves of a She-Devil (1983) also appropriates aspects of Gothic to spin a darkly comic tale of literary and literally constructed ‘woman’. The essay also looks at the Canadian novel published a year earlier, Lady Oracle by Margaret Atwood, which engages playfully with the relationship between Gothic writing and the feminine. Such texts constitute a challenge to the grand récit of gender difference, a challenge that has yet to be recognized fully by feminist critics many of whom have concentrated their energies on the feminist pursuit of life-writing. Female writers of comic Gothic, however, confront the stuff of patriarchy‘s nightmares and transform it into fictions of wry scepticism or celebratory anarchy. Through parody as ‘repetition with critical difference’, the boundaries of gender difference are destabilized in the service of creating different possibilities for female subjectivity. In their resistance both to tragic closure and their recasting of the fears of patriarchal society from a feminine perspective, such texts transform a literature of terror into a literature of liberation.

Gothic Studies
Thinking infantile eroticism
Victoria Best and Martin Crowley

. Time and again abuse to young children crops up in the texts of Houellebecq and Despentes, while early sexual fantasies and experiences are essential to the artworks of Nimier and Breillat. The question of infantile sexuality has recently provoked in France a whole range of fictional and life writing texts that explore the troubled, damaged past of the central protagonist, subject to bewildering abuse and still seeking some form of redemption or

in The new pornographies
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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Riot grrrl and body politics from the early 1990s
Laura Cofield

”’.4 This consciousness of a movement of feeling both ‘in’ and ‘out’ Sara Ahmed has termed the ‘sociality of emotion’: connecting bodies to each other and objects as well as shaping our interactions with structures and norms.5 This sense of fluidity has also shaped the zines themselves. Riot grrrl zines can be seen to inhabit a ‘hybridity’ of genres, exhibiting crossovers with life writing, political journalism and ‘a kind of art practice’, as well as becoming vehicles of ‘resistance’ and ‘lifestyle’.6 Such heterogeneity allowed grrrls to obfuscate the presumed

in Ripped, torn and cut
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Adventures in reality: why (punk) fanzines matter
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln, Bill Osgerby, Lucy Robinson, John Street, and Pete Webb

Society, 23:3 (1998), 809–41; Ellen Riordan, ‘Commodified Agents and Empowered Girls: Consuming and Producing Feminism’, Journal of Communication Inquiry, 25:3 (2001), 279–97; Anita Harris, ‘gURL Scenes and Grrrl Zines: The Regulation and Resistance of Girls in Late Modernity’, Identities, 75 (2003), 38–56; Jennifer Sinor, ‘Another Form of Crying: Girl Zines as Life Writing’, Prose Studies: History, Theory, Criticism, 26:1 (2003), 240–64; Feona Attwood, ‘Sluts and Riot Grrrls: Female Identity and Sexual Agency’, Journal of Gender Studies, 16:3 (2007), 233–47; Sara

in Ripped, torn and cut
Guy Austin

the irreversible: satellite television in the Algerian public arena ’, in Chris Berry , Soyoung Kim and Lynn Spigel (eds), Electronic Elsewheres: Media, Technology, and the Experience of Social Space ( Minneapolis : University of Minnesota Press , 2009 ), pp. 117–36 . Henke , Suzette , Shattered Subjects: Trauma and Testimony in Women’s Life Writing ( London : Macmillan , 1998

in Algerian national cinema
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Dolor y gloria
Ana María Sánchez-Arce

past events (for example, Salvador explains how his ill health followed his mother’s death, Federico (Leonardo Sbaraglia) tells Salvador how he quit heroin, and Mercedes (Nora Navas) tells the doctor that the gastroenterologist thinks Salvador may have a tumour) or through reading and performing of life writing (as in Salvador’s short story, ‘Addiction’, first read and then turned into a dramatic monologue by Alberto). There are two additional analepses that could stand alone as short films and take the form of voice-overs by Salvador with accompanying animated

in The cinema of Pedro Almodóvar
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Lindsay Anderson’s private writing
John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

The resultant material is more polished than the typical format described by Gunnthórunn Gudmundsdóttir, Borderlines: Autobiography and Fiction in Postmodern Life Writing (Amsterdam: Rodopi, 2003) 26: ‘The diary is an everyday form, often occupied with the domestic, the detail, and usually free of any hierarchical interpretation of events; the mundane and the

in Lindsay Anderson
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Catherine Millet, Virginie Despentes
Victoria Best and Martin Crowley

intellectual culture, and who have gained international prominence largely on this basis: namely, Catherine Millet and Virginie Despentes. Millet’s international bestseller, La Vie sexuelle de Catherine M. , brought this cultural penchant for explicit sex together with a favourite recent genre, that of life-writing, replacing this genre’s usual accounts of illness or family trauma with unstinting descriptions of her unusually

in The new pornographies
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Steve Blandford

life writing. In reality, however, The Street’s treatment of narrative and character is a long way from the rapid-fire of British soap opera in the twenty-first century with its voracious, fourepisode- per-week schedules. The Street taps into an audience in which soap opera has developed an appetite for domestic drama and demands more from it and, in return, provides the rewards of something more substantial. For most programme makers the very idea of daytime television connotes only the cheap and the second-rate, analgesic pap for an audience seeking mainly to pass

in Jimmy McGovern