Search results

Abstract only
German nuclear cinema in neoliberal times
Steffen Hantke

those who cause accidents as those trying to manage them; between the Soviet Union’s handling of Chernobyl and the Tokyo Electric Power Company’s handling, via the Japanese Government, of Fukushima, no agent of nuclear power would shy away from mobilising political and economic power to massage public opinion. 1 One thing is beyond debate, however. Given the industry’s safety

in Neoliberal Gothic
W. J. McCormack

context explicable in concretely historical and social terms. Yeats’s own historical context at that moment was deeply conditioned by his interest in three topics – in contemporary politics of the authoritarian kind, in the Irish eighteenth century, and in the Victorian Charles Stewart Parnell as a mediator between these two phases. Not only The Heme’s Egg but also, among the

in Dissolute characters
Elisabeth Bronfen and Beate Neumeier

Shakespeare’s ‘Scottish play’ in Mary Julia Young’s Donalda implies an easy relation between them, it is important to acknowledge that the terms ‘Scottish’ and ‘Gothic’ had been inscribed in a complex relationship of tension, opposition and mutual antagonism in historical and political discourse from at least the end of the seventeenth century onwards. Sir William Temple’s staunchly

in Gothic Renaissance
Abstract only
Neoliberal gothic
Linnie Blake and Agnieszka Soltysik Monnet

the neoliberal age. An important distinction needs to be drawn, in other words, between those contemporary texts that adopt the characters, plots, settings and thematic machinery of the gothic to lend a frisson of historic romance or transgressive sexuality to tales that range from the politically disengaged to the downright reactionary, 9 and those texts that deploy gothic conventions specifically to expose and critique the

in Neoliberal Gothic
Elisabeth Bronfen and Beate Neumeier

this period too. But these ghosts were largely used ironically, to lampoon or subvert authority. The consequence of the English revolution was, in the view of some conservative commentators, to produce a dangerous scepticism – not merely about spectres but also about religious faith and political sovereignty. Like the excesses of the Gothic, the ghosts of seventeenth

in Gothic Renaissance
Queering the queer Gothic in Will Self ’s Dorian
Andrew Smith

argument, he claims that Self’s ‘identification as straight’ colours how gay culture is represented in the novel. 3 For Alderson, Self perceives the attempt to establish a gay identity politics as ‘delusional’ (327) because it is imbricated by a consumerist ideology which renders it complicit with Thatcherite economics. This means that seemingly anti-establishment figures, such as

in Queering the Gothic
The case of Pier Paolo Pasolini
Michael Mack

, Mamma Roma (both released in the early 1960s) and his later works Oedipe Re and Teorema . Pasolini’s notion of contamination is at once political and scientific. The term scientific here denotes a broadening of our horizon of knowledge and understanding about cognitive operations that do not fit into accounts of what is normative. Pasolini’s idiosyncratic usage of the word scandal precisely describes

in Incest in contemporary literature
Situating The Beetle within the fin-de-siècle fiction of Gothic Egypt
Ailise Bulfin

7 •• ‘In that Egyptian den’: situating The Beetle within the fin-de-siècle fiction of Gothic Egypt Ailise Bulfin Among many events, literary and political, that took place in 1895 are two that may seem at first glance unrelated: Richard Marsh began writing his bestselling novel about a demonic Egyptian entity, The Beetle: A Mystery (1897), and General Herbert Kitchener launched his famous and ultimately successful campaign to quell Islamic-nationalist rebellion in Sudan. As this chapter argues, Marsh’s novel can be placed within a popular subgenre of Egyptian

in Richard Marsh, popular fiction and literary culture, 1890–1915
Abstract only
William Blake's Gothic relations
David Baulch

On Homers Poetry [and] On Virgil. This text ends by declaring that ‘Gothic is Living Form’ ( On Virgil ; E 270). 1 Although the ‘Gothic’ is accorded the highest value here, it is not clear what ‘Living Form’ is. The ‘Gothic’, we are told, is opposed to the ‘Grecian’, which ‘is Mathematic Form’ (E 270). Aristotelian unity, moral certainty, and war are the epistemological, spiritual, and political characteristics of Grecian Form: ‘it is the

in William Blake's Gothic imagination
Matthew J. A. Green

, Moore’s syncretic imagination erects bridges and opens byways that facilitate traffic between territories as seemingly distinct as pulp fiction and fading folklore, quantum science and anarchist politics, underground comics and the literary canon. His position within the Gothic tradition stems from the ability of his writing to tap into what Fred Botting identifies as the ‘darker

in Alan Moore and the Gothic Tradition