apparently mainstream commercial present. Tattoos function as symptoms of a psychological and social deviance commodified in the construction of crime as entertainment, but also as signs of a self-confident and empowered youth culture closely linked to tattooing’s subcultural origins. The ostensibly divergent roles of tattooing as atavistic outsider art and emergent fashion become difficult to disentangle.
This chapter offers three case studies of the depiction of tattoos in NorthAmerican TV crime drama in order to interrogate these multiple
Can reading make us better citizens? This book sheds light on how the act of reading can be mobilised as a powerful civic tool in service of contemporary civil and political struggles for minority recognition, rights, and representation in North America. Crossing borders and queering citizenship reimagines the contours of contemporary citizenship by connecting queer and citizenship theories to the idea of an engaged reading subject. This book offers a new approach to studying the act of reading, theorises reading as an integral element of the basic unit of the state: the citizen. By theorising the act of reading across borders as a civic act that queers citizenship, the book advances an alternative model of belonging through civic readerly engagement. Exploring work by seven US, Mexican, Canadian, and Indigenous authors, including Gloria Anzaldúa, Dorothy Allison, Gregory Scofield, Guillermo Gómez-Peña, Erín Moure, Junot Díaz, and Yann Martel, the book offers sensitive interpretations of how reading can create citizenship practices that foreground and value recognition, rights, and representation for all members of a political system.
The article surveys two centuries of Gothic Revivals in the architecture and popular culture of the United States, from the Carpenter Gothic of 1830-1860 through the castle-building of the Gilded Age and the Gothic Revival structures of the early twentieth century to todays Renaissance Faires. American Gothic is fantastic, ‘reviving’ a time and place that never existed on those shores. The earlier Gothic Revival castles represented an aristocratic and anti-democratic tradition, while in the twentieth century, Gothic revival styles are postmodern and ephemeral. These outward manifestations of the Gothic image in America show how fascination with the medieval was transformed from a pastime of the wealthy few to the masscult many, one way in which North America has appropriated and transformed the European Middle Ages through serious architectural practice and market-driven parody of the Gothic.
This essay introduces this special issue on ‘Romanticism and the “New Gothic”’, which contains revisions of essays presented at a special seminar at the 1999 joint conferences of the International Gothic Association (IGA) and the North American Society for the Study of Romanticism (NASSR) held in Halifax, Nova Scotia. Hogle argues that the ‘Gothic’ as a highly counterfeit and generically mixed mode in the eighteenth century was a quite new, rather than revived old, aesthetic which allowed for the disguised projection - or really abjection - of current middle-class cultural fears into symbols that only seemed antiquated, supernatural, or monstrous on the surface. Romantic writers thus faced this mode as a symbolic location where feared anomalies of their own moment could be faced and displaced, and such writers reacted to this possibility using some similar and quite different techniques. Post-Romantic writers, in turn, ranging from Emily Dickinson all the way to the writers and directors of modern films with Gothic elements, have since proceeded to make the Gothic quite new again, in memory of and reaction to Romantic-era uses of the new Gothic. This recurrent remaking of the Gothic comes less from the survival of certain features and more from the cultural purposes of displacing new fears into symbols that recall both the eighteenth-century Gothic and Romantic redactions of it. The papers in this special issue cover different points in this history of a complex relationship among aesthetic modes.
King’s short story highlights the relationship between citizenship, the state, and national borders, and, in particular, emphasises
the erosion of Indigenous rights and sovereignty as they play out at
NorthAmerican borders, as suggested by one reporter who earnestly (but ignorantly) asks the young narrator ‘how it [feels] to be an
Indian without a country’ (p. 142). The mother’s refusal to acknowledge any ‘side’ of the border undermines and ultimately rejects the
idea that her citizenship can be bounded by either a figurative or literal modern nation state
throughout nearly all of Asia and the Middle East, but are now
found only in small pockets of territory, most notably in India, China
and Russia, less than 10 per cent of their historical range. The wolf and
grizzly bear used to range across almost all regions in Europe, Northern
Asia and NorthAmerica; almost no bears remain in Europe and the wolf
has been eradicated in nearly all of its former territory in Europe and
much of NorthAmerica.
How do we understand the condition of animals now that low populations and drastically diminished habitat ranges are the new norms
In American and Canadian literature
of the nineteenth century, indigenous peoples of NorthAmerica were
frequently equated with wild animals, particularly wolves. The parallel
between wolves and Native Americans first emerged during America’s
colonial period in the seventeenth century, when Northeastern tribes and
wolves came to represent the colonists’ fight for survival in the
NorthAmerican deforestation in the late twentieth century, it very much
is possible to remain lost. Despite their reliance on maps, a
compass, backpacking gear and their non-stop filming, they cannot
escape; and, ultimately, they are swallowed up by the forest, never to
be found again.
Environmental concerns were probably far from the
directors’ minds when they filmed The Blair Witch Project
problems deflected Henry VIII’s natural tendency toward expansionism, but by 1540, near the end of his reign, he was prepared for further English aggrandizement. By 1640, the course of English overseas colonization was set. This first century of tentative and uncoordinated efforts would see the English becoming masters of a territorial and commercial empire that stretched from a united British archipelago to possessions in NorthAmerica, the Caribbean, and even India. 3
This chapter considers the context of Elizabethan settlement in Ireland by
variously questions, compromises and
challenges the way in which the world has been understood. The Romantic
context sketched here is one addressed in the opening chapter of this
book by Lisa Kröger. However, debates about the environment are
also nationally inflected and Bate acknowledges an alternative NorthAmerican strand of ecological writing that was inaugurated by
Thoreau’s Walden (1854). The role