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Refiguring Dracula in a neoliberal age

have been increasingly unmasked in the context of substantial cut-backs, bailouts, mass unemployment and austerity measures that have characterised the post-2008, recessionary world. The ideals of a free-market economy – based on the right to make profits and amass personal wealth – have been the target of a range of anti-capitalist protests that highlight the self-serving and

in Neoliberal Gothic
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International Gothic in the Neoliberal Age

Over the course of the past twenty-five years, as neoliberal economics has transformed the geopolitical landscape, monsters have overrun popular culture. This book explores literary, televisual, filmic and dramatic works from distant and diverse countries. It traces the vampire's evolution from the nineteenth-century past of industrial capitalism to the neoliberal present's accelerated violence and corrupt precarity, and discusses the NBC television mini-series Dracula, perfectly encapsulating our own post-recessionary subjectivity. The book addresses state capitalism but turns readers' attention away from the vampire and towards the ghost, focusing on the ways in which such spectral figures have come to dominate new German theatre. On the biotechnology sector, the book presents three examples: cinematic depictions of the international organ trade in Asia, the BAFTA award winning three-part series In the Flesh broadcast in BBC3, and literary representations of the dehumanised South African poor. The book moves from the global to the local, and charts the ways in which post-2006 house owners are trapped in the house by the current economic situation, becoming akin to its long-term resident ghosts. The ghost estates, reanimated and reimagined by the Irish artists and film-makers, are shown to embody the price paid locally for failures in global economic policy. The preoccupation with states of liminality is encapsulated by showing that the borders of the nation state have become a permeable membrane. Through this membrane, the toxic waste of first world technology seeps out alongside the murderous economic imperatives of the neoliberal agenda.

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Reading, space and intimacy in Chaucer’s Troilus and Criseyde

In purely structural terms, Chaucer’s poem Troilus and Criseyde erects a narrative edifice impressive for its classical austerity. In fact, the text seizes every opportunity of showcasing its highly artificial symmetry: for example, each of the five books begins with an invocation of the Muses or a similar rhetorical topos – the first instances of such invocations in

in Love, history and emotion in Chaucer and Shakespeare
Social commentary of 1980s Britain in Clive Barker’s Weaveworld

evocative reflection on the times in which it was written. These were the 1980s, and the decade was marked by a number of dramatic and unprecedented events: Margaret Thatcher was at the helm of the British government with her monetarist fiscal policies, austerity measures, and the call for a return to core values; sexual equality had gained considerable ground from the tentative gains made in the

in Clive Barker
The thinking of Regie

This book is dedicated to a conceptual exploration of the thinking of Regie: of how to think about theatre direction, and how Regietheater thinks itself. The focus is on what directing does, and what directing can do, tapping into and realising the potential of what theatre does and may do. Part I of the book outlines the social, ideological, political, cultural and aesthetic contexts of Regie, and some of its core intellectual and conceptual roots, by circumventing some standard reference points. Philosophical ideas and concepts of situating Regie within the Rancièrian 'aesthetic regime of art' and its specific 'partition of the sensible' are explained. The book specifically links Regie to Georg Hegel's influential thought, maintaining that Regie expresses a cultural dynamic of making sense and making sensible. The book presents the respective positions of Friedrich Schiller and Leopold Jessner, symptomatically capturing central trajectories of thinking the conceptual space of Regie, both mobilising the speculative dynamics of theatral thinking. Part II of the book explores the contested notion of 'the truth of the text', and the dialectic sublation of the play-text in play-performance. It looks at the mediation which the double-edged act of thea affords, with its emphasis on both performing and spectating, marked by the Žižekian notion of the 'parallax perspective'. The overarching political potential inherent in Regie and the very formal structure of theatre offer a playfully excessive resistance to the dominant logic of economy, efficiency, sustainability and austerity which defines present-day global neoliberal semiocapitalism.

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Neoliberal gothic

. Clearly, the role of the State has shifted under neoliberalism from the provision of social welfare to the facilitation of global trade, this including the handover of billions of dollars of public funds in bank bailouts whenever the system that was ‘too big to fail’ teetered on the abyss (Seymour, 2014 : 13). Such bailouts were coupled with a programme of so-called ‘austerity’ measures that effectively forced the

in Neoliberal Gothic
Open Access (free)
The scientific world

environment What is perhaps most important in the comparison here is that both poems concern the birth of Christ, and yet the presentation of each, the diction employed, the tone achieved, even the stanzaic formatting, are clearly at odds, emanating from different sources as it were, the former rooted in an extreme simplicity which lends it a bardic or visionary quality, the latter rooted in a more radical experimentation and political protest. We can see this same duality in Thomas’s final collection, No Truce with the Furies (1995). Note the almost elemental austerity of

in R. S. Thomas
Byron and Italian Catholicism

ridiculing Catholicism. Thus, Catholic ‘repentance’ coincides with a determination to sin (stanza 1); Catholic clergy have too much power and are mainly concerned with getting money by saying Masses for the dead to relieve the pains of Purgatory (stanza 2 and, similarly, 98); Catholicism is a religion of excessive austerity and of excessive licence (stanzas 7–​9). These are the only direct references to Catholicism. Yet the placing of the poem’s action in relation to the liturgical year is real enough and new. If we read Byron’s letters before 1816, his references to

in Byron and Italy
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the population; externally, Cuba was now more isolated than ever, with no exogenous solutions being apparent. After years of severe austerity, mass emigration and social fragmentation, however, it was not external models, but the local, that provided a new definition of the collective. Thus, both organically and, eventually, as a result of state policy recognising the importance of this local level of activity, the national collective was reconfigured once again and given extra impetus with the Batalla de Ideas. This new emphasis on the national – meaning local and

in Literary culture in Cuba
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The continuity of cultural value

It is so evidently a show for the Age of Austerity, a show of our favourite artists intended to raise as much money as possible for as little as possible … the exhibits are all taken entirely from the collections of the cash-strapped Academy itself, and its explanatory and interpretative resources are very thin – a little pamphlet in lieu of a catalogue

in Cultural value in twenty-first-century England