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Fear, the law and liquid modernity
Avril Horner

cultures and societies as well as enriching them. From a rational and optimistic point of view, such a brave new world can bring about much good. Globalisation encourages free trade and labour mobility, enhances political awareness and, via the internet, ‘has enabled an increase in real per capital GDP of $500 in mature countries over the last 15 years – it took the industrial revolution 50 years to

in Globalgothic
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Gregory Nava’s Bordertown and the dark side of NAFTA
Agnieszka Soltysik Monnet

border This is the complex nexus of factors that Gregory Nava’s film sets out to present. Framed as a gothic thriller, the film is not exactly a murder mystery – since the perpetrators of the specific crime depicted in the film are known to the spectator from the start – but a horror-tinged investigation of the social, economic and political

in Neoliberal Gothic
Abjection and revelation in Le Fantôme de l’Opéra
Jerrold E. Hogle

beneath the surface of Parisian and urban European life as its cultural and political unconscious, along with its psychological one, all at the dawn of the twentieth century. The survival of this story in adaptations, even when they change it greatly (as they have) to abject anomalies and anxieties of their own times, stems from its ability to use Gothic abjection to throw off and yet obliquely face

in European Gothic
Gothic imagery in Dutch feminist fiction
Agnes Andeweg

quo. Either the monster functions in a feminist revision of hegemonic gender constructions, or the monstrous outsider is a necessity to define the insider. 1 Although its political potential is disputed, one thing about the monster is clear: it is a marker of difference. As Kim Toffoletti notes, feminists have noticed ‘that difference, deviance and monstrosity are often conflated’, 2 while Rosi Braidotti jokes that the

in Gothic kinship
Locating the globalgothic
Justin D. Edwards

monumental transnationalist and global shifts (economically, politically, geographically) and how gothic narratives have migrated and transformed aesthetic, ideological and political landscapes. Theorising these narrative movements in the unique historical moment of globalisation offers insights into how different gothic tropes intersect and overlap. In addition such migrations and displacements offer myriad

in Globalgothic
Towards an American ecofeminist Gothic
Emily Carr

, PETA, cruelty-free shampoo and engendered or endangered species to remake our (human) attitude towards our (natural) world at the cellular level: the level of language. It is coyote from the start and this is one of the reasons we need it. Donna Haraway argues that ‘[p]erhaps our hopes for accountability, for politics, for ecofeminism, turn on revisioning the world as coding trickster with whom we must

in Ecogothic
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E.J. Clery and Robert Miles

2.1 Cornelius Tacitus (55 to after 115 AD), Germania (trans. 1777), translated by John Aikin The Gothic aesthetic in architecture, poetry and fiction did not emerge in a vacuum. In the words of one authority, ‘the history of the “Gothic” begins not in the eighteenth but in the seventeenth century, not in aesthetic but in political discussion’ (Kliger, 1945, p. 1

in Gothic documents
Gothic and the perverse father of queer enjoyment
Dale Townshend

recuperate its ambulatory, wildly phantasmatic turns as a vehicle for lesbian-feminist love, desire and sexual politics. 3 But still, this does not disguise the fact that, in by far the majority of cases, heterosexual marriage, in which hero and heroine are united to one another in a monogamous, peculiarly asexual emotional bond, appears to be the teleological goal to which most early Gothic fictions

in Queering the Gothic
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Victoria Margree, Daniel Orrells and Minna Vuohelainen

-hegemonic. Marsh’s novels, Höglund concludes, ‘often interrogate and implode the pervading discourses of the time’ so that ‘dissonant voices’ are foregrounded in the ‘discursive discord’ of his fiction.4 A study of his work thus has the potential to challenge scholarly interpretations of the period’s dominant ideologies and politics. This volume therefore seeks to question the security of our assumptions about the fin de siècle through an exploration of Marsh’s fiction; to understand who Marsh was; and to examine what his success tells us about the culture of a turn

in Richard Marsh, popular fiction and literary culture, 1890–1915
Rechnological necromancy and E. Elias Merhige’s Shadow of the Vampire
Carol Margaret Davison

productions, registers the curious contemporary paradox in our socio-cultural attitude towards death – namely, that death is ‘rejected as a presence in everyday life [while being] excessively staged’ publicly (Goodwin and Bronfen, 1993 : 16). Body politics are at the core of such mediation in the form of our corporeal, mortal bodies, bodies that are always gendered in

in The Gothic and death