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A history of female werewolves

cultural production. In fact, as several chapters in this volume suggest, the history of the werewolf can be read as a revealing reflection of the development of ‘prevailing cultural values and dominant ways of knowing or speaking about the world’ that shape our conceptualisation of European and colonial identities. Nevertheless, despite this volume’s focus on cultural history and territorial specificity, I

in She-wolf
Nineteenth–century fiction and the cinema

In considering English culture of the long nineteenth century, we may immediately think of giants of fiction: the witty and delicate satire of Jane Austen; the Gothic achievement of Mary Shelley; the enigmatic Charlotte and Emily Brontë; the social commentary of Charles Dickens; the panoramic narrative of George Eliot; the thrilling narratives of Robert Louis Stevenson; the universal tragic force within the meticulous regionalism of Thomas Hardy; the forging of a national identity in Sir Walter Scott; the

in Interventions
Storytelling and theatricality in adaptations of the life of Joseph Merrick

strong claims have been made about his formative influence on modern gay identity (see Gardiner, 2002 : 206, 213). As with Merrick, the late twentieth century ‘rehabilitated’ Wilde, finding in him not that which was monstrous but that which was to be celebrated, the Victorians themselves instead being accorded the condemnation for their cruel and inhuman treatment of the two men. Both Wilde and Merrick have a frequently cited incident in their biography which seems to crystallise their outsider status and the cruelty of

in Interventions
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Fin-de-siècle gothic and early cinema

of his youthful beauty that first day, and the thought of its inevitable future devastation, prompts Gray to articulate the wish to be forever young and for the picture to grow old. The magical fulfilment of the wish sees Gray exchange identities with his portrait, which now hides the destructive effects of time and dissipation on his features, ‘thereby converting his face

in Monstrous media/spectral subjects
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Darkness and suicide in the work of Patricia Highsmith

what cannot be represented. By this, he means that the notion that there is any direct recourse to biological essentialism (whether in respect of sexual difference or to provide a stable identity that exists outside identification and language) is false. If that is the case, then the human subject can cease to exist within the Symbolic and revert to previous imagos of the pre-Symbolic Imaginary body: ‘These are the images of castration, mutilation, dismemberment, dislocation, evisceration, devouring, bursting open of the body, in short, the imagos that I have

in Suicide and the Gothic
Science fiction and the futures of the body

ideologies which are continually changing, has been much discussed. Nature and culture (which are themselves contested terms) interplay in a complex and varying manner, such that it would be incorrect to see biological necessity as the sole factor in determining what counts as incest. 6 After all, in the current era of contraception the need to protect against genetic mutation is less relevant to human

in Incest in contemporary literature
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for discussing and investigating cultural identity – but this is not an exhaustive list. Indeed, this collection is interested in the multifarious nature of the depiction of this most sensitive and controversial of taboos within contemporary literature, and how current psychological and sociological debates have informed current artistic practice and fictional poetics. The research in this volume addresses a variety of media and

in Incest in contemporary literature
Having one’s cake and eating it too

in which “the Victorian” has become a homogenised identity – even a signifier – in contemporary culture’ (Heilmann and Llewellyn, 2010 : 2). However I would argue instead that neo-Victorianism involves what might be termed ‘heterogenisation’. Rather than blending disparate elements into uniformity, neo-Victorianism produces an accumulation of incongruous elements – according to whichever aspect of the present the past’s adaptive reuse is intended to reflect or illuminate. This accounts for the inevitable

in Interventions
The Elephant Man, the Hysteric, the Indian and the Doctor

’s identity that science overlooks. We first encounter this issue of representation in Treves’s account of his discovery of Merrick. When Treves went to see him being displayed in the shop across the road from the London Hospital, he first had to pass through a curtain on which there was a painting of Merrick. Treves noted in his Reminiscences that, ‘This very crude production depicted a frightful creature

in Victorian demons
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William Blake's Gothic relations

's suppressed capacities in Albion's fallen state. What is lost in Los's shift to the south is the ability to effectively actualise the Gothic as Living Form. While the opposition between Gothic and neo-classical architectural forms on plate 32 effectively defines the world as both divided by and a contest between the neo-classical Vala and the Gothic Jerusalem, plate 57 is literally framed within the field of a Gothic

in William Blake's Gothic imagination