Epistemology and Revolution in Charles Brockden Brown‘s
In Wieland, Charles Brockden Brown attempted to negotiate varying forces confronting
contemporary American religious and political life. Through the transformation of the
temple into a Gothic zone Brown injects questions of epistemological uncertainty, clashing
forces of rational Enlightenment and supernatural faith. Brown outlines the religiously
motivated founding of the nation reacting to European oppression as allegorical to the
Wieland patriarchs journey from the Old to New World, and his construction of the temple
demonstrates the establishment of new institutions in the American landscape. Religious
liberty turns into extremism, producing Gothic violence that transforms the temple into a
site of horror and destruction. His children attempt to re-transform the temple along
rational Enlightenment lines much the same as Brown perceived the need for America to
distance itself from its revolutionary and religious extremist origins. Yet the failure of
rationalism to expunge the supernatural aura from the temple allows for the tragic events
to transpire that comprise the bulk of the novel. Ultimately, Brown‘s Gothic novel evinces
the critical nature of the epistemological clash he sees taking place for the direction
America will take, and his concerns that Gothic violence will reverberate throughout
future generations find their expression in Wieland‘s temple.
This book develops insights into the vexed question of Carter's textual practices through the dusty lens of the Gothic. It argues that European Gothic is vital to illuminating and understanding the tension between politics and aesthetics in Carter's work. The book shows how a more concerted focus on Carter's European literary inheritance sheds light on her particular and perverse engagements with androcentric literary and cultural frameworks. It emblematises the tension between her textual extravagancies and her self-declared 'absolute and committed materialism'. Her firm belief 'that this world is all that there is, and in order to question the nature of reality one must move from a strongly grounded base in what constitutes material reality'. The book examines the fraught relationship between Carter's sexual and textual politics. Exploring the ways in which Carter's work speaks to broader discussions about the Gothic and its representations, the book is especially concerned with analysing her textual engagements with a male-authored strand of European Gothic. This is a dirty lineage that can be mapped from the Marquis de Sade's obsession with desecration and defilement to surrealism's violent dreams of abjection. The book not only situates Carter as part of a European Gothic tradition but theoretically aligns her with what Jane Gallop, in her book on Sade, describes as France's "deconstructive" feminism, daughter of antihumanism.
It is a central thesis that nineteenth-century Ireland went through a series of traumatic processes of modernization, which have been denied and repressed in their aftermath. The mediated presence of Sheridan Le Fanu and Honore de Balzac in the work of W.B. Yeats brings to a head political questions of the utmost gravity, the most notable being Yeats's engagement with fascism. Le Fanu has been persistently aligned with a so-called Irish gothic tradition. The objective in this book is to observe the historical forces inscribed in Le Fanu's distinctive non-affiliation to this doubtful tradition. The book presents a French response to Charles Maturin's gothic work, Melmoth the Wanderer, which is followed by discussion of a triangular pattern linking Balzac, Le Fanu and Yeats. This is followed by an attempt to pay concentrate attention within the texts of Le Fanu's novels and tales, with only a due regard for the historical setting of Le Fanu's The House by the Churchyard. An admirer of Le Fanu's fiction, Elizabeth Bowen adopted some of the stock-in-trade of the ghost story to investigate altered experiences of reality under the blitz. A detailed examination of her The Heat of the Day serves to reopen questions of fixity of character, national identity and historical reflexivity. In this work, the empty seat maintained for the long dead Guy might be decoded as a suitably feeble attempt to repatriate Le Fanu's Guy Deverell from an English to an Irish 1950s setting.
This book explores a number of Alan Moore's works in various forms, including comics, performance, short prose and the novel, and presents a scholarly study of these texts. It offers additional readings to argue for a politically charged sense of Moore's position within the Gothic tradition, investigates surreal Englishness in The Bojeffries Saga, and discusses the doppelganger in Swamp Thing and From Hell. Radical environmental activism can be conceived as a Gothic politics invoking the malevolent spectre of a cataclysmic eco-apocalypse. The book presents Christian W. Schneider's treatment of the apocalyptic in Watchmen and a reassessment of the significance of liminality from the Gothic tradition in V for Vendetta. It explores the relationship between Moore's work and broader textual traditions, placing particular emphasis on the political and cultural significance of intertextual relationships and adaptations. A historically sensitive reading of From Hell connects Moore's concern with the urban environment to his engagement with a range of historical discourses. The book elucidates Moore's treatment of the superhero in relation to key Gothic novels such as The Castle of Otranto and presents an analysis of the nexus of group politics and survival in Watchmen. The book also engages in Moore's theories of art, magic, resurrections, and spirits in its discourse A Small Killing, A Disease of Language, and the Voice of the Fire. It also explores the insight that his adaptations of H.P. Lovecraft, which are laced with heterocosms and bricolage, can yield for broader understandings of his forays into the occult.
This book explores the diverse literary, film and visionary creations of the polymathic and influential British artist Clive Barker. It presents groundbreaking essays that critically reevaluate Barker's oeuvre. These include in-depth analyses of his celebrated and lesser known novels, short stories, theme park designs, screen and comic book adaptations, film direction and production, sketches and book illustrations, as well as responses to his material from critics and fan communities. The book examines Barker's earlier fiction and its place within British horror fiction and socio-cultural contexts. Selected tales from the Books of Blood are exemplary in their response to the frustrations and political radicalism of the 1980s British cultural anxieties. Aiming to rally those who stand defiant of Thatcher's polarising vision of neoliberal British conservatism, Weaveworld is revealed to be a savage indictment of 1980s British politics. The book explores Barker's transition from author to filmmaker, and how his vision was translated, captured, and occasionally compromised in its adaptation from page to the screen. Barker's work contains features which can be potentially read as feminine and queer, positioning them within traditions of the Gothic, the melodrama and the fantastic. The book examines Barker's works, especially Hellraiser, Nightbreed, and Lord of Illusions, through the critical lenses of queer culture, desire, and brand recognition. It considers Barker's complex and multi-layered marks in the field, exploring and re-evaluating his works, focusing on Tortured Souls and Mister B. Gone's new myths of the flesh'.
Mary Shelley’s Frankenstein is one of the most popular novels in western literature. It has been adapted and re-assembled in countless forms, from Hammer Horror films to young-adult books and bandes dessinées. Beginning with the idea of the ‘Frankenstein Complex’, this edited collection provides a series of creative readings that explore the elaborate intertextual networks that make up the novel’s remarkable afterlife. It broadens the scope of research on Frankenstein while deepening our understanding of a text that, 200 years after its original publication, continues to intrigue and terrify us in new and unexpected ways.
intimately associated with the legendary Social Democrat leader Per Albin Hansson (1885–1946), who in 1928 held a speech where he declared his vision that ‘the Swedish class society must one day be replaced by the Swedish folkhem ’.
The vision of the folkhem was implemented in the 1930s with a comprehensive political programme of social reforms, which resulted in benefits for the people such as a statutory retirement pension (1935), an annual two-week vacation (1938) and, later on, general health insurance (1955). In
Bride of Clintonstein ( A Double Take Presidential Primary Rib , July 2016).
Outside of the USA, a major news story with political impact has been the UK’s referendum about whether to remain in the European Union. It was a heated campaign which resulted – in June 2016 – in the decision to leave the EU. Generally, pundits assumed that the anti-EU campaign (‘Brexit’) would lose and the arguments and rhetoric they deployed (principally in regard to immigrants and refugees) were seized upon by critics with articles in British newspapers such as Dan
Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison
‘Scotland’s landscape and wildlife, its history and culture, its men and, even occasionally, its women ’ (Martin 2; emphasis added). While a ‘cult of masculinity’ characterised models of Scottishness by the nineteenth century (March 328), ideologically mixed material was circulated in political prints and such venues as John Wilkes’s virulently anti-Scots newspaper, The North Briton , after the Jacobite Rising of 1745 when Scottish Highlanders were pacified and semiotically emasculated while being simultaneously positioned at the vanguard of the hyper
Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
of ‘all kinds of [perceived] political monstrosity’ (Armitage 224). And we can add adaptation theory to the metaphoric cultural possibilities of the Frankenstein trope. This chapter argues for the productivity of what I call a Frankensteinian model for adaptation studies, which attempts to systematically trace and account for the work of intertextuality in the act of adaptation.
The Frankensteinian model, or ‘Not things learned so much as things remembered’
In imagining Frankenstein as a model for adaptation, we