Search results

Historical romance, biography or Gothic fiction?
John Williams

a compelling story-line. Given the Italian setting of the novel, relating the past to the present did not, on the face of it, appear likely to create problems for a politically nervous publishing industry in England. A part of the increasingly independent life Shelley began to build for herself at Pisa was the interest she took in the chaotic political situation that existed in Italy after the

in European Gothic
Abstract only
Serving the people in Fruit Chan’s Dumplings
Glennis Byron

the central feature of global culture today is the politics of the mutual effort of sameness and difference to cannibalize one another Arjun Appadurai, Modernity at Large Identity politics has been the primary focus of

in Globalgothic
The Books of Blood and the horror of 1980s Britain
Darryl Jones

Joyce Carol Oates, the gothic illustrator Edward Gorey, and the conservative political theorist and man of letters Russell Kirk. In part, it was the sheer heterogeneity of Dark Forces which seems to have attracted Barker: ‘I'll have a go at that’, he later recalled thinking. ‘I'll put on 23 different hats and do everything I always wanted to do in horror fiction.’ 5

in Clive Barker
Anna Barton

Lastly, the supreme condition of posthumousness, [Victorian poetry] was post-Kantian. Isobel Armstrong, Victorian Poetry: Poetry, Poetics, Politics ( 1993 ) Such are some of the founding doctrines of Kant, who was so sincere in his belief that we may call him twice amidst falsehood and so confirmed in error that amidst scepticism he was dogmatical. Elizabeth Barrett, ‘Kant’s Philosophy’ ( 1824

in Interventions
Abstract only
The politics of disease
Andrew Smith

opposition to the Acts had been led by Florence Nightingale). The way that this opposition to the Acts was expressed indicates how literary tropes came to influence the tenor of political arguments. Judith R. Walkowitz claims that Butler’s ‘propaganda against the Acts faithfully adhered to the gender and class expectations of traditional stage melodrama’. 6 Butler used

in Victorian demons
Jonathan Bignell and Stephen Lacey

restrictions that the genre conventions of this popular television form entails provide a productive tension which makes possible an exploration of the politics of the genre and of the characteristic pairings and groupings of characters that it focuses on. In the seemingly very different context of the television adaptation of a literary source, included in a different part of the book, Helen Wheatley’s analysis of Rebecca (ITV/Carlton 1997), The Wyvern Mystery (BBC 2000) and The Woman in White (BBC 1997) distinguishes the gendered concerns of the Gothic as a mode that

in Popular television drama
Abstract only
Nineties’ gothica
Susanne Becker

political correctness’. Chris Weedon has shown that it has also become commodified by communication through the media that suggests ‘shopping for difference’ ( 1997 , 49) and the consumption of difference for pleasure (49) – for example in local (but globally controlled) ‘lonely hearts’ columns. She concludes

in Gothic Forms of Feminine Fictions
Swamp Thing and the intertextual reader
Michael Bradshaw

to direct opprobrium against those who harm the environment, as discussed in detail by Maggie Gray in Chapter 3 above. The story is a deep-Southern-US enactment of anti-Thatcherite politics, the periphery of the main plot littered with newspaper reports – both documented and fictional – of corporate greed, chemical pollution, the Iran

in Alan Moore and the Gothic Tradition
Abstract only
Haggard, Stoker and Wilde
Andrew Smith

This book has concentrated on the complex relationships that existed during the period between death, creativity and forms of interpretation. Whilst the emotional and social consequences of capital punishment were considered in the previous chapter , we also saw how death in Dickens is linked to social, political and psychological analysis. The Mystery of Edwin Drood (1870) is a hybrid Gothic

in Gothic death 1740–1914
Abstract only
Avril Horner

themes, tropes and motifs across national and linguistic borders and boundaries; it also examines the cultural and political climates that either allowed the Gothic to flourish or dampened it down through censorship. In so doing, it offers a corrective to what has become a somewhat lopsided story of the development of the Gothic novel. All too often academic accounts of the Gothic repeat, almost mantra-like, the

in European Gothic