Part III Labyrinths of desire 18 Clive Barker, ‘Saint Sinner’, 1993.

in Clive Barker
White women and property holding in Barbadian plantation society

far, or to what extent, marriage contracts were legally binding. Did women such as Joan Minor freely devise these contracts themselves, or were they induced to do so by male relatives – especially fathers – seeking to retain property within the family? Joan Minor’s settlement certainly suggests that some women, either through a simple desire to control their own property, or with an eye to the

in Engendering whiteness

11  Desire, disgust and indigestibility in John Cleland’s Memoirs of a Coxcomb Rebecca Anne Barr John Cleland’s notoriety depends on his sexually explicit Memoirs of a Woman of Pleasure (1748), a work which stimulates and celebrates the satisfaction of carnal appetites through a series of erotic encounters. Despite prosecution for obscenity, Cleland claimed, with brazen disingenuity, that his writing stemmed from his desire to stimulate while avoiding vulgarity, working as a proof positive that the novel could arouse without descending to depravity

in Bellies, bowels and entrails in the eighteenth century
Buñuel’s technique

–9) On a train journey from Seville to Madrid, a middle-aged man, Mathieu (played by Fernando Rey), recounts the story of his relationship with a young woman, Concha (played by Carole Bouquet and Ángela Molina). He tells of his obsessive attempts to consummate his desire for her and of her alternation between responsiveness and rejection. Through numerous episodes, Mathieu seems to get close to his goal

in Spanish cinema 1973–2010

London house from the fourteenth century’. 14 The bedchamber is an indispensable place for privacy – either solitude or the mutual privacy that lovers seek. Chaucer’s Troilus uses his chamber for solitary swooning and delicious death-wishing despair. When smitten by Criseyde, Troilus’s first thought is to ‘hiden his desir in muwe’ (I.381). He ‘muwes’ his desire – locks it up in the small cage to which

in Love, history and emotion in Chaucer and Shakespeare

Gothic fictions have, from their beginning, been fabrications. Shaped by their time, Anne Rice‘s vampire novels – Interview With The Vampire and The Vampire Lestat – participate in a logic of simulation: the former offers a nostalgic pastiche of Romantic and Baudelairean modernity; the latter an overblown reanimation of pagan and ancient mythologies. For all their nostalgia and recyclings, these postmodern romances remain tied to contemporary ahistorical and reversible axes of consumption and exhaustion, fatally in-human desiring and technological novelties, flaccid fantasies and tired trangressions.

Gothic Studies

In Alien3 Lt Ellen Ripley finds herself in a nightmare scenario. She has crash-landed on an abandoned prison planet, ‘Fury 161’, surrounded by a remnant of the inmate population (twenty-five prisoners, a medical officer and two administrators who have opted to remain in a care-taking capacity after the prison/refinery was closed). The prisoners are a violent group of rapists and murderers with double-y chromosome coding, who can only seem to control their excessive expressions of masculinity by fanatically embracing a fundamentalist religion. Ripley sums up the group as ‘a bunch of lifers who found God at the ass-end of space’. On one level, this setting begs for a story of male homosexuality: an all-male prison planet filled with sexual aggressors could be the recipe for a gay male porn classic. Instead, it becomes a tale of excessive masculinity manifested through heterosexual fears and desires. I want to take this discrepancy between homo-possibilities and hetero-manifestations as my point of departure to explore how Alien3s engagement with the Gothic diverts and expresses anxieties about queer masculinity, desire, and sexuality.

Gothic Studies
Character Doubling and Social Critique in the Short Fiction

As she had done in Frankenstein, Mary Shelley reworked the gothic dopplegänger motif time and again in her short fiction not only to entertain but also to educate her readers. Focusing on four tales written in the late 1820s and early 1830s, this paper considers how Shelley repeatedly set up a triangle of desire in which an intensely competitive and destructive relationship between men is mitigated or resolved by a female character. A close look at these tales contributes to our understanding of the extent to which Mary Shelley devoted herself to remodelling Gothic modes. More importantly, these tales demonstrate the degree to which her ‘New Gothic’ was intended to contribute to a reconfiguration of traditional gender roles and a revaluation of the domestic affections, particularly in terms of their relevance to the political arena.

Gothic Studies
Angela Carter‘s Exposure of Flesh-Inscribed Stereotypes

The human body is a crucial site for the inscription of cultural paradigms: how people are perceived controls the way they are treated. Postmodernist writers have shown sexual roles, racial inequalities and other forms of discrimination to be parts of a process of reductio ad absurdum, consisting of the identification of the individual‘s social functions with their anatomical features as well as with the habitual marking of their bodies. This article examines Angela Carter‘s The Infernal Desire Machines of Doctor Hoffman where Carter‘s refusal of established body politics is most clearly dramatised. This novel exposes the dreary consequences of power/weakness relations, together with its contradictory exploitation of Gothic devices, making it an esssential testimony to Carter‘s postmodernist reconfiguration of worldviews and narrative modes.

Gothic Studies

5 The unbearable desire for explicitness and rationality in bioethics Michael Parker and Micaela Ghisleni ‘[S]omeone can only claim that their actions or decisions stem from moral conviction or are dictated by moral considerations – are in short part of an attempt to live by ethical standards, if they can say why those actions are right, if they can show how they are justified. To have a moral belief is, whatever else it is, to believe that the world will be a better place if certain things happen and others do not, and that it will be a worse place if the

in From reason to practice in bioethics