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Sherlock Holmes, Count Dracula and London

writing on the city is freighted with ideas about gender, so that the city itself becomes figured as a space which possesses often conflicting gender identities. These early and mid-nineteenth century narratives also provide a conceptualisation of the city which underpins Doyle’s and Stoker’s versions of the city at the fin de siècle. To this end I will explore Thomas De Quincey’s nightmares of

in Victorian demons
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Angela Carter and European Gothic

’ ( 1985 ) and Nights at the Circus ( 1984 ) as exemplars of postmodernist parody (see Bacchilega 1997 ; Hutcheon 1989 ). 3 Certainly, Carter’s writing deploys techniques of parody, citation and appropriation that resemble postmodernist tools of deconstruction; it also engages in a relentless interrogation of essentialist definitions of gender and sexuality that calls into question Enlightenment notions of identity and the

in Decadent Daughters and Monstrous Mothers
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‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott

. 38 See Price, ‘Ancient liberties?’, and Watt, Contesting the gothic . 39 Price, ‘Ancient liberties?’, p. 23. 40 Toni Wein, British identities, heroic nationalisms, and the gothic novel, 1764–1824 (Basingstoke and New York: Palgrave Macmillan, 2002

in The gothic novel in Ireland, c. 1760–1829

This book aims to provide resources for critical thinking about key aspects of television drama in Britain since 1960, including institutional, textual, cultural and audience-centred modes of study. It comprises original essays on aspects of British television drama which our contributors believe have not yet been adequately theorised or researched in existing scholarship. The book presents and contests significant strands of critical work in television drama studies, using case study examples to show how critical approaches are in dialogue with specific

in Popular television drama
The Albigenses as historical novel

–8) This evangelical identity deliberately highlights the Albigenses’ understanding of themselves as God’s chosen people, much like the Israelites of the Old Testament and, closer to home, the Anglo-Irish community in Ireland. An illustrative example: Boanerges, doing justice to his name, delivers a fiery oratory to the Bishop of Toulouse in which he deploys Old Testament imagery to depict the contest

in Charles Robert Maturin and the haunting of Irish Romantic fiction
Steven Sheil’s Mum & Dad

-affirmations. It can be argued that the exclusion of the deviating ‘other’, therefore, is constitutive rather than challenging the norm. The Sawyers, ultimately, cannot be perceived as other than deviant. In spite of all the careful analogies between the Sawyers and the Hardestys in Hooper’s text, a boundary consisting precisely of the state of familial identity, and therefore impermeable

in Gothic kinship
Zombie pharmacology In the Flesh

how to perform their new identities, being reminded repeatedly that they are not responsible for anything they did in their ‘untreated state’ (1.1) and are not to blame for having risen from the dead in the first place. Under armed guard, they are re-educated – learning to intone ‘I am a PDS sufferer, and that is not my fault’ (2.1). They remain, however, entirely dependent on

in Neoliberal Gothic
Affect and ethics in fiction from neoliberal South Africa

to which it is ascribed as belonging: ‘Not only are the great molar aggregates segmented (States, institutions, classes) but so are people as elements of an aggregate … they are segmented … to ensure the control of the identity of each agency, including personal identity (Deleuze and Guattari, 2005 [1987]: 195). Capital’s bid to render individuals as clearly

in Neoliberal Gothic
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Costume, performance and power in 1953

costume expressed this problematic attempt to reconcile the future and the past, as the very materiality of mid-century apparel began first to enable, and then to demand, new definitions of authenticity, class and national identity. These new definitions inform key cultural artefacts of the period, from Powell and Pressburger’s 1948 fairy tale The Red Shoes to Iris Murdoch’s first novel Under the Net (1954); and from the 1951 Ealing comedy The Man in the White Suit to Gloriana itself, as well as finding expression in the accoutrements of both the Coronation and

in Mid-century gothic
The Gothic body and the politics of décolletage

. This is not an unvarying dynamic, but nevertheless continues as a persistent feature of the form throughout the eighteenth and nineteenth centuries. The respective focus on the psychology of the villain or the plight of the heroine has led some commentators to divide these texts into ‘male’ and ‘female’ Gothic. 1 The female body, however, remains a contested ground in both, the site on which

in Fashioning Gothic bodies