Search results

You are looking at 1 - 7 of 7 items for :

  • "selfish individualism" x
  • Literature and Theatre x
  • All content x
Clear All
Transfusing Blood, Science and the Supernatural in Vampire Texts
Aspasia Stephanou

This article examines blood transfusion in vampire texts and its connections to vampirism in order to establish the different ways the body and identity of the vampire, and its victim, are constituted and affected by the dangerous circulation of blood. Vampire texts manifest anxieties about identity that arise through the symbolic value of blood, but also through its increasing medicalisation. Nineteenth-century vampire texts focus on blood‘s symbolisms while twentieth-century texts define blood as a neutral medium to be analysed and explained. In the late twentieth century however, blood becomes the locus of biomedical interventions which affirm respect for tradition, selfish individualism and responsibility.

Gothic Studies
Abstract only
Neoliberal gothic
Linnie Blake and Agnieszka Soltysik Monnet

neoliberal subjectivity’, thus traces the vampire’s evolution from the nineteenth-century past of industrial capitalism to the neoliberal present’s accelerated violence and corrupt precarity. Stephanou argues that the selfish individualism and hedonic consumerism of neoliberal subjectivity have come to be embodied in the contemporary vampire, itself characterised by a desire for unlimited expansion and the

in Neoliberal Gothic
James Thompson

where those forms of dependency might become sources for mutual support and solidarity. The argument here seeks to value these as the foundation of movements that aim to counter the ethos of radical, selfish individualism. The denial of inextricable interdependency and the concomitant avowal of self-sufficiency as a ‘moral ideal’ (Butler, 2015 : 14) is the foundation of a neoliberal ideal of entrepreneurial self-sufficiency. And, while proponents of individual responsibility delegate, and often hide, their dependency on others, they simultaneously support the

in Performing care
Abstract only
Refiguring Dracula in a neoliberal age
Stéphanie Genz

the vampire-capitalist have understandably been dampened and replaced by a more resigned and uncommitted compliance, or in Gilbert’s words a ‘disaffected consent’ that is conditional and grudging rather than enthusiastic. 6 This atmosphere of disaffectedness and disenchantment also allows for a reinvigoration and rebranding of the capitalist vampire,which now has to be seen to eschew selfish

in Neoliberal Gothic
Brendan O’Connell

) Here again, as with the ‘turning a new leaf’ passage discussed above, we see that whereas Chaucer is interested in the rhetorical and poetic potential of imitating different sorts of men, Spenser appears to twist such ideas into an attack on selfish individualism and social climbing. And yet, for both poets, the imitative skills of the social climber run uncomfortably parallel to those of the poet. Both central protagonists in ‘Mother Hubberds Tale’ appear to be influenced by Chaucer’s crow; certainly, the ape is informed by

in Rereading Chaucer and Spenser
Abstract only
Daniel Lea

the gradual erosion of communal ideals in the face of a selfish individualism (Our Fathers), O’Hagan’s work repeatedly returns to points of disconnection where characters lose their way, values become discredited, and dreams begin to unravel. Published in 2008, O’Hagan’s collection of essays and journalism, The Atlantic Ocean:  Essays on Britain and America, offers some interesting aetiologies for these tropes in his work. Missingness is a condition of contemporary British society, he argues in the introduction, for throughout the 1970s and 1980s Britain ‘had

in Twenty-first-century fiction
Anne Woolley

of Species was published in 1859 and almost overnight contributed to an erosion of faith which in turn ushered in a new age where it was no longer possible to dissent and not threaten the superstructure. This is analogous with a new philosophy in art whereby ambitious and selfish individualism was justified and innovation was advantageous. Victorian histories of art were therefore written as a progressive sequence in which stronger or more original artists supplanted the weaker or obsolete. 66 Not everything in the arts was so cut-throat however; The House of

in The poems of Elizabeth Siddal in context