In this article, I propose that the key to the underlying dissidence of M. G. Lewis‘s The
Monk lies in the novel s depiction of consent, a fundamental principle in late
eighteenth-century British discourse. For British thinkers of all stripes, a government
and populace that valued consent made Britain the greatest nation in the world; The Monk
disrupts this worldview by portraying consent, whether express or tacit, political or
sexual, as incoherent. By depicting consent as illegible and pervasively undermining the
distinction between consent and coercion, The Monk effectually threatens a value that
rested at the core of late eighteenth-century British identity.
realism, and sometimes also depicting a welfare state in decline.
In Lindqvist's zombie novel Hanteringen av odöda (2005; Handling the Undead , 2009), the undead people are locked away by the Swedish government in a residential area called The Heath in a desperate attempt to handle a horrific situation in a rational and bureaucratic manner. A communal space at The Heath is described as follows: ‘The courtyard was dominated by the large structure in the centre… it had been planned as a combined laundry, social space and refuse centre. However
Forbidden Planet, Frankenstein, and the atomic age
Dennis R. Perry
Franklin D. Roosevelt that building the atomic bomb was possible, later condemned the use of the bomb against Japan, and was sympathetic toward the Atomic Scientists movement (Clark 752). Having helped determine the outcome of World War II, the scientists involved in the movement had become important players on the world stage and changed the course of international politics. At the same time, more practical military and government officials pushed back against the idea that civilian scientists should regulate nuclear research. They recognised that less reasonable
the poor southern part of Boston. That Boston hospital could not be farther from what Dr. Stegman has in mind. Like his counterpart Einar Moesgaard in Riget , Jesse James is engaged in promoting ‘Operation Morning Air’, but not in order to create a congenial working environment and thus impress government officials, as is the case in the Danish series, but to make Kingdom Hospital more commercially attractive to a potential buyer, an aspect that points to different ideologies in the two series.
Setting and resetting Gothic and the uncanny: Låt
Adapting Mary Shelley’s monster in superhero comic books
-culture history when, in the 1950s, the US government began investigating whether horror and crime comic books influenced juvenile delinquency (Howe 30).
Briefer’s Creature roamed contemporary New York City in the 1940s and battled several of Prize Comics ’ costumed crime fighters. During World War II, the Creature ‘was brainwashed into hating Nazis’ and became a pseudo-hero (Bark). But the changes to the character did not end there. After being a figure of Gothic horror and then a Nazi-hunter, the character experienced perhaps its most unexpected
One reason the wolf may have been so demonised in Russian folktales is the large number of livestock killed by wolves in the nineteenth century when many of the oral folktales were written down and published. Researching the history of wolves in Russia, Will N. Graves notes that, despite efforts by the Tsarist government, as well as the arming of recently liberated serfs and the exertions of Russian hunting societies, the wolf population, unlike that in Europe in the nineteenth century, was not eradicated; in fact, it was a growing problem for famers living in
Responsibility and obedience in I, Robot and X-Men: First Class
government stop Sebastian Shaw and his followers from accomplishing their plan to incite a nuclear war between the US and the USSR. Lehnsherr destroys Shaw’s yacht by tearing through it with an anchor and its chain, only to discover that the yacht rests on a large submarine in which Shaw and his followers escape. Xavier, whose telepathic powers allow him to read and control people’s minds, hears Lehnsherr’s thoughts and realises that Lehnsherr’s fury has led him to try to stop the submarine, despite the likelihood that he will drown. Xavier throws himself off the ship just
Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
from Tory playwrights such as John Gay and Henry Fielding, Robert Walpole’s Whig government imposed the Licensing Act, which severely censored British playwrights, making the performance of plays subject to the approval of the Lord Chamberlain. The Licensing Act scrubbed the stage of any perceived political criticism and, indeed, virtually all overt reference to politics. In addition to purging the stage of political engagements, it rigorously censored the language and subject matter of dramatic works. Finally, it mandated that new dramas could be performed only at
Team, a top-secret branch of the Norwegian government tasked with keeping this primitive and indigenous race under control. In Roar Uthaug's Fritt vilt (2006; Cold Prey ) and Tommy Wirkola's Død snø (2009; Dead Snow ), groups of young city dwellers go to the Norwegian mountains for a vacation, but in both cases the intended winter outing turns into a traumatic experience. In Fritt Vilt, the snowboard tourists find themselves trapped in a deserted hotel together with a mad killer. In Død snø the skiers are attacked by a group of greedy Nazi zombies, who have
Sara B. Elfgren and Mats Strandberg’s teenage witch trilogy
Maria Holmgren Troy
Trier's Danish TV series Riget ( Kingdom , 1994, 1997) and Stephen King's American adaptation, Kingdom Hospital (2004), which I discuss in Chapter 8 .
Schools and hospitals in the Nordic countries are generally public institutions that are part of the tax-funded welfare system; accordingly, the school in Engelsfors is run by the local municipal government.
There is no choice of school in the area, which adds to the claustrophobic, oppressive atmosphere in the sense that it is impossible for