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Austin Ruthyn. Both ‘Date Obolum Belisario’ (in Uncle Silas) and the Cleopatra tapestry here both allude to the downfall of a great military leader – Belisarius himself, allegedly at the hands of an ungrateful emperor, and Mark Antony of Shakespearean fame. One may feel that the asexuality of the dominant males in Le Fanu has to be read conversely, as the representation of

in Dissolute characters
Gothic kinship in Stephen King’s Pet Sematary

absence from King’s novel is a real, extra-familial figure of authority, a sign of paternity’s expression at the social, rather than familial, level. Pet Sematary provides no equivalent to paternal police officer Alan Pangborn (of The Dark Half [1989] and Needful Things [1991]), or to authorities and agencies like the governmental White Commission in Carrie or the military forces that arrive

in Gothic kinship

imagining and understanding’ (Connor, 2000 : 363). Indeed, Wallace was himself a convinced spiritualist and wrote a chapter defending psychical research and hypnotism (Wallace, 1899 : 194–212). He was also attuned to the darker sides of scientific advance: the subtitle of Wallace’s book was Its Successes and Failures and, for Wallace, the terrible failures of nineteenth-century science included military technology, which Wallace condemned as ‘the Curse of Civilisation’ (pp. 324–41). Thus in 1899, Wallace told a

in Interventions
Having one’s cake and eating it too

’s subtle contemporaneousness , helping to explain the Victorians’ conversion into such hypocritical embodiments of all-consuming western cultural imperialism and dreams of world domination run amok. Wanting was written at a time of high profile public debates about the legitimacy and efficacy of the US-led NATO military intervention in Afghanistan combatting what might be termed the ‘terrorist desires’ of armed non-state organisations such as the Taliban and al-Qaeda to contest western ideology and geopolitical spheres

in Interventions
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German nuclear cinema in neoliberal times

(1965) or Nicholas Meyer’s The Day After (1983). But then even these films are entries into the larger genre of the disaster film, a genre in which it matters little whether the disaster in question is nuclear, viral or natural in nature as long as it is spectacularly apocalyptic. Differences between nuclear devastation as a result of military or civilian technology vanish

in Neoliberal Gothic
British romantic drama and the Gothic treacheries of Coleridge’s Remorse

and killed them? / Dreamt you of no revenge?’(Coleridge 1813 : 1.2.309-314). Misled by Alvar’s Oriental disguise, but also shrewdly recognizing his obvious charisma, Alhadra later calls upon him to become a masterful and combative presence on the military and political scene: ‘If what thou seem’st thou art, / The oppressed brethren of thy blood have need / Of such a leader’ (Coleridge 1813 : 2

in European Gothic
Gothic mansions, ghosts and particular friendships

-dressing. White tells us that she leaves the Convent to attend ‘a well-chaperoned tea at the Ritz … incongruously arrayed in a military-looking coat chosen by herself and an absurd, daisy-trimmed hat that her mother had bought in Paris’ (108). The performance of gallant masculinity that Leonie herself enacts and that Nanda elaborates in the romantic image she constructs of her friend, instead of striking the

in Queering the Gothic
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Lesbian Gothic horror

Captain’ manages genre metamorphosis, merging science fiction, romance and horror, and blending the Gothic motif of the vampire with the science fiction motif of the alien Other. Space captain, female vampire Drake (Dracula and adventurer Sir Francis Drake), captain of the ship ‘Scorpio IV’, seduces her travelling companion, military lieutenant Harper (after Jonathan Harker in Stoker’s Dracula

in Queering the Gothic
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William Blake's Gothic relations

has to do with the distinctive political emphasis of the Blakean Gothic in Jerusalem. Judging from his place of prominence in Jerusalem 's list of oppressor/kings, Arthur has become less a mythical figure and more an actual ruler for Blake. The Catalogue 's passage on The Ancient Britons conveyed Arthur as a mythical figure of nationalist greatness and a guarantor of a British rise to a military dominance in the future. The fact

in William Blake's Gothic imagination
Globes, englobing powers, and Blake's archaeologies of the present

McLeod and Richard Holmes write in The Oxford Companion to Military History , ‘It is the deepest irony that the French Revolution, with its ideals of liberty, equality, and fraternity, led to a quarter-century of bloody war’ (p. 329). 3 Terdiman, Present Past , p. 104

in William Blake's Gothic imagination