Towards a definition of (meta)cultural blackness in the fantasies of Clive Barker
Tony M. Vinci
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
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
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
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
[…]. 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
The metafictional meanings of lycanthropic transformations in Doctor Who
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’.
This might seem self-evident to many, but the nature and meaning of the Gothic is easily oversimplified or misread. It is worth
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
Bede’s employment of biblical examples in
Sentient ink, curatorship and writing the new weird in China Miéville’s
Kraken: An anatomy
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
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
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