Search results

You are looking at 11 - 20 of 105 items for :

  • contested identities x
  • Manchester Gothic x
Clear All
Locating the globalgothic

concerned not only with individual subjectivity (gender, ethnicity, religion, racial identity) but also with the relations between individuality and the spectral movements of global forces that are uncontrollable and unpredictable. One of the ways of thinking about globalgothic, then, is in relation to migrations or displacements that can, in some cases, engender social dislocations, cultural changes

in Globalgothic
Abstract only
1990s style and the perennial return of Goth

identity, and as such represents another manifestation of the Gothic preoccupation with clothes. The influence of Goth style, however, has also altered the way in which clothing is represented in Gothic discourses. In the 1990s, ‘Gothic’ clothing was specifically that which recalled the clothing worn by participants in Goth subculture. This chapter will attempt to untangle some of the ways in

in Fashioning Gothic bodies
Wilde’s Art

, low (dirty) truth. The very double quality of the novel enables these exchanges to take place as Carson finds that the narrative works, seemingly simultaneously, on symbolic and literal levels; a double quality which suggests the presence of a covert strategy relating to sexual identity. However, the hidden symbolic narrative cannot be animated by a legal discourse which principally concerns itself

in Victorian demons
HBO’s True Blood

what might be interpreted as racial identities, from the vampire, werewolf, werepanther, fairies and witches, to shape-shifters such as the bar-owner Sam Merlotte (Sam Trammell). Gothic fictions once expressed a fear of the possibility of a diversity of races coming together. As Gelder writes of the racial threat posed by vampires, ‘Diversity means instability: it invites contestation: identities

in Open Graves, Open Minds
Detection, deviance and disability in Richard Marsh’s Judith Lee stories

in its approbation of Holmes’ quest for normativity and its condemnation of suffragette campaigns. Yet Lee can be seen as both resistant to and complicit with the taxonomies commonly associated with detection; while the stories’ conformist position as scientifically minded detective fiction is complicated by their apparent tolerance of transgressive identities and Lee’s seemingly semi-supernatural communication skills, their very premise – Lee’s expertise as a teacher of the deaf – undermines such counter-hegemonic readings because her profession aims to conceal or

in Richard Marsh, popular fiction and literary culture, 1890–1915
Patricia Duncker’s The Deadly Space Between and The Civil Partnership Act

exploration of gender, sexuality and kinship in Patricia Duncker’s The Deadly Space Between (2002). 7 If the legal meaning of the Act derives from its intertextual relation to other texts of family law, and if Duncker’s novel is inscribed in a literary genealogy of representations of desire and identity, their significance is accrued when cross-examined as part of the

in Gothic kinship
Open Access (free)
The cartographic consciousness of Irish gothic fiction

, it points to the contested nature of the country's history. Although the Irish families to whom Louisa refers deploy the term ‘Milesian’ as a mark of pride in their lineage, the reminder of their august heritage is also a reminder that, as Kilfeather put it, ‘England is only the latest in a series of colonial powers to invade Ireland, and that the country has no native identity’. 45 The notion of colonial invasion is supported in the text by the character of Colonel Walter, an early version of the absentee landlord, who has

in The gothic novel in Ireland, c. 1760–1829
The Gothic imperative in The Castle of Otranto and ‘For the Man Who Has Everything’

the Silver Age, which began in Showcase , 4 where editor Julius Schwartz introduced a new version of the Flash and ‘kicked off the great superhero revival’. 11 Silver Age stories, especially Superman’s, were usually marked by silly, often domestic plots designed to uncover his secret identity. Moore’s story, though grounded in a similar Silver Age conceit (Superman’s birthday

in Alan Moore and the Gothic Tradition
Abstract only
Migrant bodies and uncanny skin

corroded and compressed by the weight of the sand and soil, and ‘as the mass dried out with the overlying weight of sand removed, it sprang apart like an opening concertina’. 6 As these long-dormant objects blossomed into subjecthood without the burden of soil and time to restrain them, they also brought their missing owner uncannily into the present day, where he could be called upon to betoken a timely expression of national identity. In a 1951 article on Sutton Hoo in Scientific American , Rupert Bruce-Mitford, who was to spend many years

in Mid-century gothic
Couperus and colonial Gothic

dissociated from the sender. The text stays on, the sender disappears. The author is present only in spirit, otherwise absent. Writings, in other words, function independently from either sender or receiver and as such exist autonomously in the Gothic tale. The search for the role and meaning of a text hard to read and/ or for the identity of the sender often forms the core of the genre

in Gothic kinship