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

resists acculturation and commoditisation; it is an act that Barker positions as a metaphor for a (meta)cultural interweaving, an open and multivalent model of identity construction that transcends body and creates flesh. Fish within fish; worlds within worlds: the (meta)cultural apocalypse Pie's revolutionary work

in Clive Barker
Abstract only
Defining the ecoGothic
Andrew Smith and William Hughes

that a critical examination of the representation of nature in fiction is crucial to an understanding of our relationship with it. In ‘Locating the self in the post-apocalypse: the American Gothic journeys of Jack Kerouac, Cormac McCarthy and Jim Crace’, Andrew Smith takes as his starting point a moment from Jack Kerouac’s On the Road (1957) when the narrator recalls an incident when he awoke in a

in Ecogothic
Shoshannah Ganz

apocalypse are not that far behind. Clearly many real landscapes contribute to the future landscapes of Oryx and Crake and The Year of the Flood. The arid deserts of Australia lend something to the imaginary terrain of these texts. But not surprisingly in the 1990s in terms of the visible results of climate change, the North still figures most boldly in Atwood’s imagination. Certainly the impact of Atwood

in Ecogothic
Abstract only
Lindsey Dodd

not more than, bombing. Apocalypse could come from the air, but hell could arrive by land, as 1870 and 1914–18 had shown. The Geneva Disarmament Conference was a failure for French hopes of restraint; Hitler withdrew in October 1933, and published details of the increased German military budget in 1934. By March 1935, with all pretence of observing Versailles conditions discarded, a peacetime army of 550,000 men was authorised, and the German Air Force officialised.4 The Rhineland reoccupation in March 1936 brought war a leap closer. It seemed that the ‘ever

in French children under the Allied bombs, 1940–45
Abstract only
Lindsey Dodd

[…]. It was the apocalypse for a child – no, I don’t know anymore – I think I was told off because my teeth were chattering, because I said ‘I’m scared’, and then [stops, distressed] […]. You had the feeling that the world was collapsing, you said to yourself ‘It’s the end. We’re going to be killed’. I don’t know how I could have thought that at the time, but you didn’t feel you could escape it. In the railway workers’ garden city housing estate of La Délivrance in Lomme, situated just off the Dunkirk road, the raid of 10 April 1944 was v 87 v Experiencing bombing

in French children under the Allied bombs, 1940–45
The metafictional meanings of lycanthropic transformations in Doctor Who
Ivan Phillips

are literally harbingers of apocalypse. They enact a movement towards the themes of human identity crisis that would become prevalent during the Hinchcliffe–Holmes years, characterised by tales of transformation, possession and body horror. Leslie Sconduto has written that ‘[w]erewolves, as a cultural product, have been and always will be a reflection of their time’. 13 This might seem self-evident to many, but the nature and meaning of the Gothic is easily oversimplified or misread. It is worth

in In the company of wolves
Abstract only
Bede on the Flood
Daniel Anlezark

Apocalypse ( c .703–9), exploits this way of reading. 22 Bede’s discussion of the Flood, as a part of his mature work, contains many extended mystical passages. For Bede, commentary on scripture was not a form of speculative theology, but literary criticism, and the reader was charged with understanding the full meaning of the text by practising criticism. 23 Bede’s employment of biblical examples in

in Water and fire
Abstract only
Sentient ink, curatorship and writing the new weird in China Miéville’s Kraken: An anatomy
Katharine Cox

largest and most surprising of all the animal creation’ (Berthelson 1755 qtd OED ); a harbinger of Apocalypse, it is often represented as sleeping in the deep (Miéville refers to this in the chapter ‘Universal sleeper’). Lovecraft’s Cthulhu, a tentacular alien-hybrid, draws on Tennyson’s Kraken in its deep, near-eternal sleep (Corstophine 2011 : n.p.). However, Miéville repeatedly downplays representations of cephalopods in pre-nineteenth-century literature as he seeks to delimit the meanings of the creature, as his character Harrow does in naming the squid as

in Tattoos in crime and detective narratives
Abstract only
Chris Beasley and Heather Brook

or institution that persists despite having apparently outworn its usefulness. These films engage with a political mythology that gives expression to uncertainties about the stability of the social order. For the most part, these uncertainties and their incarnation as zombies are eventually vanquished – even though they can simultaneously provide narrative opportunities for doubts about the worth or viability of the social order. Zombie movies rarely present complete or assured resolution – after the zombie apocalypse, the world cannot be returned to what it was

in The cultural politics of contemporary Hollywood film
Abstract only
Lancelot du lac
Keith Reader

harshly critical of the modern world, contemporary overtones to the despairing arbarity of Bresson’s knights, as to that of their Teutonic counterparts in Eisenstein’s Alexander Nevsky (1938). The symmetrical apocalypses of beginning and end suggest a further way in which the action of Lancelot is situated outside historical or chronological time, well articulated by John Pruitt

in Robert Bresson