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Refiguring Dracula in a neoliberal age
Stéphanie Genz

cohere as an “organic” process with a “human face” which used money responsibly and sensibly’ (Moretti, 1988 ; Gelder, 1994 : 19). Here, Dracula is represented as a selfish and despotic monopolist, remorselessly and greedily accumulating capital – not unlike the reckless ‘banksters’ of late who are publically condemned for adopting a regressive economic rationality that

in Neoliberal Gothic
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An East End apocalypse
Brian Baker

. Judith Walkowitz suggests that London had been understood as a ‘bifurcated city’, east and west culturally and economically opposed: labour and capital, poverty and leisure, criminal and bourgeois, alien and nation. Franco Moretti, in his Atlas of the European Novel 1800–1900 (1998), makes a similar argument about London’s duality, which he diagnoses in Dickens’s Oliver Twist : Two half-Londons, that do not add up to a whole … It is Dickens’ great wager: to unify the two halves of the city. And his pathbreaking discovery: once the two

in Iain Sinclair
Monika Fludernik

Literature , pp. 196, 198. 28 Thomas J. Moretti, by contrast, argues that The Virgin Martyr proposes a via media of religious tolerance in parallel to James I's attempts for reconciliation and moderation in religious policy (‘ Via Media Theatricality and Religious Fantasy in Thomas Dekker and Philip Massinger's The Virgin Martyr [1622]’, Renaissance Drama 42:2 [2014], pp. 243

in Enacting the Bible in medieval and early modern drama
Aritha van Herk and No Fixed Address
Susanne Becker

flashbacks even as formal exploration of an extended Bildungsroman around ‘the conflict between the ideal of self-determination and the equally imperious demands of socialisation ’ (Moretti 1987 , 15). However, Arachne’s travels do not end in the ‘harmonious solution’ expected of that genre (Moretti 1987 , 15), namely the ‘conclusive synthesis

in Gothic Forms of Feminine Fictions
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‘Of magic look and meaning’: themes concerning the cultural chess-player
John Sharples

, masculinities, and moralities. An epilogue considers the chess-player from an early twentyfirst-century perspective. Notes  1 D. Martin, Curious Visions of Modernity: Enchantment, Magic, and the Sacred (Cambridge, MA: MIT Press, 2011), p. xiv.  2 Ibid., p. xv.  3 F. Moretti, Graphs, Maps and Trees: Abstract Models for Literary History (London: Verso, 2007), p. 4.  4 P. Metzner, Crescendo of the Virtuoso: Spectacle, Skill, and Self-Promotion in Paris During the Age of Revolution (Berkeley, CA: University of California Press, 1998), p. 1.  5 Oxford English Dictionary

in A cultural history of chess-players
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Bill Marshall

filigrane’ (‘a film we could call Marxist, in minor mode or implic- 46 andré téchiné itly’) (Jousse 1991). The model here is of course Balzac, for long held in high regard by Marxist critics for his dissection of the emerging early nineteenth-century capitalist world in the novels of the comédie humaine, and beyond that the tradition of the Bildungsroman, or novel of education. Unlike the stable communities of the traditional past, modernity requires ‘an uncertain exploration of social space’ (Moretti 1987: 4) through narratives of mobility, unexpected hopes

in André Téchiné
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Lamenting Livingstone
Justin D. Livingstone

he (and it is almost always a he) successfully surmounts. Franco Moretti clarifies the nature of such challenges: ‘lions, heat, vegetation, elephants, flies, rain, illness and natives. All mixed up, and at bottom all interchangeable in their function as obstacles.’ 39 Many of the death poems certainly created a portrait of environmental resistance in which Livingstone

in Livingstone’s ‘Lives’
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Religion, folklore, Shakespeare
E.J. Clery and Robert Miles

financial corruption. In doing so, it incidentally displaces the opposition of credulity and scepticism with a materialist interpretation of the case reminiscent of Franco Moretti’s well-known Marxist reading of Dracula (Moretti, 1983, pp. 83–108). The piece could be regarded simply as an elaborate joke, but the reading of superstitious fictions as allegories of political oppression remained an option for

in Gothic documents
Open Access (free)
Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Christina Morin

growing awareness of cultural interconnectedness. Far from the marginal, derivative, sub-literary fictions of traditional scholarly opinion, Roche's gothic romances, like those of her fellow Irish Minerva Press authors, invite new attention. Not only do they constitute what we might call, in Moretti-inspired terms, the canon of the market or the canon of the read, they are also positioned centrally in the development of nineteenth-century cultural nationalisms and a new transnationalism powered by print. 148 Notes

in The gothic novel in Ireland, c. 1760–1829
Alice Munro and Lives of Girls and Women
Susanne Becker

gendered terms is illuminating. Franco Moretti puts the ‘classic’ Bildungsroman in the context of everyday life and sees as one of its tasks ‘to show how pleasing life can be in what Goethe called “the small world”‘ ( 1987 , 36). Significantly, as in Moretti’s whole argument, this works well for the male (artist) hero who can always leave this small world for the larger one with

in Gothic Forms of Feminine Fictions