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Joel T. Terranova

Published in 1795, John Palmer, Jun.’s The Haunted Cavern: A Caledonian Tale is a historical Gothic romance that expresses certain unease with the growth of British imperialism at the end of the eighteenth century. In this text, Palmer explores the impact of empire on the colonialized other as well as demonstrating the hypocrisy and abuse of certain imperial practices. With the plot set during the end of the War of the Roses, The Haunted Cavern juxtaposes medieval England as the imperial power with France and Scotland illustrated as the colonialized victims. This article examines the tension towards empire found in The Haunted Cavern which helps clarify the commercialized Gothic romance’s function as a subversive medium towards colonialism.

Gothic Studies
John Cameron Hartley

This chapter examines the ‘Lost World’ genre, a staple of late-Victorian popular fiction, exemplified by H. Rider Haggard’s stories featuring Allan Quatermain, and Ayesha, known as She-Who-Must-Be-Obeyed. These fin-de-siècle tales, while ostensibly celebrating British Imperialism and the continuation of colonial power, reveal layers of anxiety concerning degeneration, the collapse of civilisation, the rise of the Victorian ‘new woman’, and perhaps most potently the fear of death. Canadian writer James De Mille, in his book A Strange Manuscript Found in a Copper Cylinder, inverted Victorian values to satirise the capitalist economy, and the glorification of war, by creating the Lost World of the Kosekin where wealth is a burden and death worshipped. The presentation of the Lost World as a Gothic Space allows for a critical examination of the way that Victorian cultural certainties were challenged, by divergent belief systems, and the mystery and terror of death.

in The Gothic and death
Imperial fictions: Doctor Who, post-racial slavery and other liberal humanist fantasies
Susana Loza

the subjugation and enslavement of Africans and indigenous New World peoples – is the central theme of ‘Planet of the Ood’, the third episode in which the tentacle-faced pale grey aliens appear. In this episode, the historical horrors of British imperialism are transposed onto Cthulhu-like cephalopods and projected into the year 4,126, the era known as the Second Great and Bountiful Human Empire. ‘The Planet of the Ood’ opens with a brief commercial that establishes the servile nature of the aliens. As glimmering galaxies glide by, we hear the following dialogue

in Adjusting the contrast
Sylvie Magerstädt

as Romans (i.e. the ‘bad guys’), while the Jewish resistance was exclusively played by US actors, perpetuating the implied association between British imperialism on the one hand and US liberalism on the other (see also Part III). The posh accents of the British also contributed to notions of ‘class warfare’, discussed in the previous part. Despite its weaknesses, Masada is interesting insofar as it ‘boasts a rare cinematic appearance by the emperor Vespasian’ which is according to Elley (1984: 121) ‘one of history’s most neglected characters – if only because of

in TV antiquity
Abstract only
Claire Hines

of the Bond character as created by Fleming and adapted in the films has been recognised as central to the enduring appeal of Bond, underscored by his consumerist and cultured personal style. In contrast, some aspects of James Bond – such as his associations with British imperialism and parts of his spy image – were in some respects already backward-looking. This has continued to be repackaged to some extent but, as discussed later in this book, beyond the 1960s the playboy image and lifestyle also seemed increasingly outdated, and in many ways nostalgic in recent

in The playboy and James Bond
Family Portrait
Keith Beattie

Town, Cairo and Canada … We have been to the poles and every time the return has brought us back food and food for machines’. The narrator adds that this imperial exploration (the narrative is not one of imperial exploitation) also ‘brought us experience and responsibility’. According to Conekin, who has analysed the Festival at length, ‘[t]his is one of the most direct references to Empire in the Festival of Britain, replete with the version of British imperialism represented as paternal­ istic and conscientious’.38 Among his criticisms of Family Portrait Lindsay

in Humphrey Jennings
The Gothic, death, and modernity
Carol Margaret Davison

may be surprised to see, in various nineteenth-century naturalist works, the traces of Anglo-American Gothic influence. Part IV concludes in India ( Chapter 12 ) where, in a nation decidedly marked by British imperialism yet utterly distinct in its cultural, theological, and philosophical contexts, a cinematic flirtation with the Gothic is not only discernible but strategically manipulated. In ‘A

in The Gothic and death
Sylvie Magerstädt

you may never have guessed that he went to school at Harrow.’ I, Claudius, however, does not simply use British accents to signify Roman nobility. The show also gives its lower-class Roman soldiers Cockney accents, thus creating a linguistic dichotomy between upper and lower classes that might be familiar to British audiences from other daytime soap operas. Abroad, especially in the US, this contributed to the perception of I, Claudius as a distinctly British programme, but one that was also linked to monarchy and British imperialism. Here, the show’s reception in

in TV antiquity
Abstract only
Sue Vice

discern in it a consistent polemic, particularly in relation to gender. In terms of race, Des’s middle-aged white friend Stan, who drives him and his belongings to Tufnell Park, complains about having to carry a bundle from the car: stan: Oi, Des! I’ve heard of the White Man’s bleedin’ Burden … Give us a hand to get them in, will you? This quip does not really qualify for a postcolonial label, despite its ­reference to Rudyard Kipling’s 1899 poem ‘The White Man’s Burden’ about British imperialism, although it does imply that Stan sees an irony in his carrying for Des

in Jack Rosenthal
City Fun and the politics of post-punk
David Wilkinson

cults … and their myriad mutations and sub-factions’ that had followed in the wake of punk.80 While the writer acknowledged the pleasures of subcultural style, they despaired of the way that tribal hostilities could so easily be manipulated ‘by those whose games are played on a grander scale’, drawing historical parallels with the incorporation of Scottish clans into the service of British imperialism.81 City Fun and the politics of post-punk -103- The perspective has much in common with Fredric Jameson’s diagnosis of the rise of the ‘group’ in late capitalism

in Ripped, torn and cut