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Most such work has more or less explicitly participated in the project of (in Franco Moretti’s words) ‘a history of literature [rewriting] itself as a sociology of symbolic forms, a history of cultural conventions’ hoping to thus ‘finally find a role and a dignity in the context of a total history of society.’ 18 Book history has long been recognized as having a

in Formal matters
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Alan Moore’s Swamp Thing and radical ecology

an entire society should stand around engrossed, reading Dracula while up to our jugulars in blood’. 37 The implication that the Gothic could be an escapist distraction from reality aligns with Franco Moretti’s argument that Gothic metaphors filter social threats and anxieties, dislocating ‘the antagonisms and horrors evidenced within society to outside society itself

in Alan Moore and the Gothic Tradition
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-Pierre Kalfon, as well as Michèle Moretti, with whom Téchiné was to have a long professional relation4 Rereleased in 2004. Marc’O, born in 1927 as Marc-Gilbert Guillaumin, has from the 1990s to the present been artistic director of the radical theatre group Génération Chaos and their magazine Les Périphériques vous parlent. His other films include the avant-garde 60 Minutes de la vie intérieure d’un homme/Closed Vision, presented at the 1954 Cannes Film Festival by Jean Cocteau. emergence 5 ship). André Téchiné was assistant director on this film, which was edited by Jean

in André Téchiné
Critical theory and the affective turn

, ‘Close but not Deep: Literary Ethics and the Descriptive Turn’, New Literary History 41 (2010):  371–​91; Sharon Marcus, Heather Love, and Stephen Best, ‘Building a Better Description’, Representations 135/​1 (2016):  1–​21. In relation to description, one could also include Franco Moretti’s recent work on ‘distant reading’, which also turns away from humanistic or hermeneutical readings of individual texts, focusing instead on large data sets that combine scientific and social-​ scientific methodologies to identify systematic patterns in literary texts across time and

in Critical theory and feeling
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Fulke Greville’s Mustapha

. In his challenge to the monarchy's claims of transcendent power, Greville participates in what Franco Moretti has highlighted as Jacobean tragedy's ability to ‘deconsecrate’ sovereign power and disentitle ‘the absolute monarch to all ethical and rational legitimation’. 40 As Moretti goes on to point out, ‘Power is founded in a transcendent design, in an intentional and significant order. Accordingly, political relations have the right to exist only in so far as they reproduce that order symbolically … absolute monarchy can exist because it has a meaning’. 41

in The genres of Renaissance tragedy

, where Exxon (which is, as Sinclair explains in the London Orbital film, the company of US President George W. Bush) has its storage tanks. The economic logic of vampirism as mapped onto contemporary capital. Although I have elsewhere suggested that Sinclair’s mode of critique gestures towards the transcendent rather than being strictly materialist (or Marxian), the connection between Marx and vampirism occurs even in Das Kapital . Franco Moretti, in Signs Taken for Wonders , notes that vampirism is a ‘metaphor for capital’ in Stoker’s Dracula . According to Marx

in Iain Sinclair
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prevalent. In the first part of his essay, Robertson applies the methods of Franco Moretti’s ‘distant reading’ in support of his contention that Parliament’s 1643 ordinance, on the whole, successfully restricted the London press’s output when it came into effect that June. In the context of this increased control of the press, Robertson then traces the battles waged in print and in courtroom trials (accounts of which were, of course, then printed) over the liberties, or lack thereof, enjoyed by authors and publishers during this tumultuous decade. Whereas traditional

in Texts and readers in the Age of Marvell

consumed literary discourses under colonialism even in America. It follows that the Gothic quickly became part of a world-literary system along the lines theorised by Franco Moretti ( 2011 ) and as such, elsewhere, outside of Europe, it entered into a compromise with local literary conventions and forms of representation. One such compromise was the Indian compromise. The question

in The Gothic and death
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An economic theory of the ghost story

by internal power shifts, echoes a concern with a reverse colonialism that is most clearly exemplified in Dracula’s (1897) account of an Eastern European (largely Jewish) invasion of modern Britain. 17 It is difficult to isolate social, racial, and national prejudices from debates about the ownership of the economic system. Franco Moretti claims that Stoker’s Count (a demonstrably

in The ghost story, 1840–1920

target literature)” (“Laws,” 54). Not surprisingly, given the terminology of the definition, to date these ideas about literary interference have been explored primarily with reference to inter-cultural transfer and influence, such as conceptualizing, for example, the impact that a hegemonic culture can have on the cultural productions of a less powerful culture, as in comparatists’ recent discussions of the disproportionate influence of the English-language literary system on the literary systems of other nations and peoples (e.g., Moretti, “Conjectures”; and Moretti

in Spenserian satire