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Richardson‘s Gothic Bodies
Judith Broome

In Sir Charles Grandison, Richardson anticipates the imaginary Italy of the Gothic novel. The categories of gender and nationality that Richardson constructs in the division of the ‘Names of the Principal Persons’ into ‘Men’, ‘Women’ and ‘Italians’ intersect with categories of health and illness to reinforce the opposition of a sensible, enlightened England, home of liberty and social stability, against a passionate, unstable and irrational Catholic Italy, home of wounded, mad and dangerous ‘Italians’. While the Gothic novel relies on landscape descriptions, banditti and abandoned castles to create a sense of terror, in Sir Charles Grandison, the Gothic is located, not in Italy, imaginary or otherwise, but in the bodies of the Italian characters.

Gothic Studies
Nineteenth-century stage Cleopatras and Victorian views of ancient Egypt
Molly Youngkin

stage Cleopatras through a gender- and nation-biased lens, in which actresses of different nationalities were presented as beautiful felines who drew in Victorian audiences; best suited for the role were those whose nationalities inherently constructed them as seductresses, and even whores, in the minds of the English public. 6 After analysing these reviews, this chapter returns to Shakespeare's play to re-examine passages in which Cleopatra is represented as a lover and a mother

in Victorian literary culture and ancient Egypt
Surreal Englishness and postimperial Gothic in The Bojeffries Saga
Tony Venezia

was increasingly foregrounded in political and cultural discourses, signalled by such disparate contemporary examples as the British Nationality Act of 1981, the Falklands conflict of 1982, inner-city riots and the growth of a heritage culture that peddled nostalgic representations of empire. The strip can be read in many ways as participating and commenting on these discourses, but also

in Alan Moore and the Gothic Tradition
Fred Botting and Justin D. Edwards

subjugation. With the rise of new forms of empire and transnational capital, the active imperialisms witnessed in tangible and positioned structures of conflict related to nation states have declined, and it is not always easy to locate tangible forms of empire, particularly given their transnational nature. In Spectral Nationality , for instance, Pheng Cheah explores postcolonial anxieties about the

in Globalgothic
Abstract only
Glennis Byron

darkness’ offers one of the earliest examples of globalgothic with an analysis of a global dance practice, ‘Ankoku butoh’ (‘dance of utter darkness’), first performed in Japan by Tatsumi Hijikata in 1959, on the eve of Japan’s signing of the US–Japan Mutual Defense Treaty. Butoh, Bruhm points out, is a dance devised in such a way that it is not delimited by a particular nationality or subjectivity while

in Globalgothic
Abstract only
The dance of global darkness
Steven Bruhm

) I will return momentarily to this strange ontology, but for now it is enough to say that, for Hijikata, such European inspiration is not accidental; it is part of a larger programme to devise a dance that would not be delimited by a particular nationality or subjectivity. As Lunberry argues of new Japanese dance, this ‘movement presented a curious merger of internationalism and the newly formed

in Globalgothic
Thomas Ligotti and the ‘suicide’ of the human race
Xavier Aldana Reyes and Rachid M'Rabty

Events normally take place in a geography left deliberately ambiguous to create a sense of pervasive universality and total spatial decentring: Ligotti’s world is recognisably our own, yet is rendered thoroughly uncanny by a de-anchoring process that refuses to, for example, acknowledge nationalities or mention commercial brands. More interestingly for someone who has been strongly connected to Lovecraft, his stories are, with very few exceptions – most notably, ‘The Last Feast of Harlequin’ (1990) – devoid of aeon-old intergalactic creatures. This is because Ligotti

in Suicide and the Gothic
Towards a definition of (meta)cultural blackness in the fantasies of Clive Barker
Tony M. Vinci

, ultimately, ushers in a strange and beautiful apocalypse that unifies the Earth with its sister dimensions, revealing the geometrical make-up of the Imajica to be a circle of worlds with an uncharted metaphysical geography at its heart. The previous world of stabilised cultural identities – defined by race, nationality, sexuality, and religion, etc – becomes outmoded and opens up into

in Clive Barker
Brutishness, discrimination and the lower-class wolf-man from The Wolf Man to True Blood
Victoria Amador

local Transylvanians, reiterating again the innate superiority of the native Englishman over all other nationalities: The women looked pretty, except when you got near them, but they were very clumsy about the waist … The strangest figures we saw were the Slovaks, who were more barbarian than the rest, with their big cow-boy hats … and [they] had long black hair and heavy black moustaches … On the stage they would be set down at once as some old Oriental band of brigands … rather wanting in natural

in In the company of wolves
Isabella van Elferen

Classique parties, is home to neoromantic Goths. Festivals such as the Wave Gotik Treffen in Leipzig (Germany), M’era Luna in Hildesheim (Germany) and Whitby gothic Weekend (UK) are internationally orientated and attract visitors from a number of countries. The demographics show, however, that these international festival visitors all come from a restricted part of the world: the nationality of festival

in Globalgothic