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Chiharu Yoshioka

The Gothic is the discourse which embodies the dialectic of the Enlightenment, with its potential to push the frontier of reason into the mythologized darkness. Embarking on the use of genre fiction as political discourse and finding a voice to tell a story of her generation, Carter made a major breakthrough in her career. Making use of the Gothic palimpsest, Carters Marianne leaves behind the sphere of (feminine) ‘interiority’-the psychic spaces of desire and anxiety for the (supposedly masculine) catharsis in the Other world, as a sixties heroine of sensibility. Heroes and Villains calls for the reconstruction of enlightenment at the ‘post-modern’ ruins of civilization.

Gothic Studies
Negotiating with the Daleks
Jonathan Bignell

. ( 1983 ), ‘ Dr Who: ideology and the reading of a popular narrative text ’, Australian Journal of Screen Theory, 13/14 , 69–100 . Gillatt , G. ( 1998 ), Doctor Who – From A To Z, London : BBC Books . Howe , D. , M. Stammers and S. J. Walker ( 1993 ), Doctor Who – The Sixties, London : Virgin . Tulloch , J. and H. Jenkins ( 1995 ), Science Fiction Audiences: Watching Doctor Who and Star Trek , London : Routledge .

in Popular television drama
Superficial paganism and false ecology in The Wicker Man
William Hughes

. 66–7. 4 Hardy et al., The Wicker Man , scene 10, ‘Lord Summerisle’. 5 Brown, Inside The Wicker Man , p. 167; A. Catterall and S. Wells, Your Face Here: British Cult Movies Since the Sixties (London: Fourth Estate, 2002), p. 141

in Ecogothic
W. J. McCormack

reflexive as the fiction’s commentary on revealed truth is discernible either. Uncle Silas has its less precise biblical allusions also. In the sixty-third chapter, and narrating how she went passively to the room where her relatives would lie in wait for her life, Maud refers clearly to a famous passage in St Paul’s Epistle to the Hebrews. Once again

in Dissolute characters
Abstract only
Machen and Stoker
Andrew Smith

History of Medicine , 39 (July 1984 ), 339–55, 350. All subsequent references are to this edition and are given in the text. 8 William Crookes, ‘Address’, in Report of the Sixty-Eighth Meeting of the British Association for the Advancement of Science, Held in Bristol in September

in Gothic death 1740–1914
Susanne Becker

the political and counter-cultural movements of the time. Ann Douglas has contextualised the popular horror texts of the time in these terms: In these thrillers, parental characters, like many of the authors who create them, are baby-boomers, creatures of the sixties

in Gothic Forms of Feminine Fictions
Dreams of belonging in Cornish nationalist and New Age environmental writing
Shelley Trower

more mundane, rational England. TheSixties’ had seen the flowering of new kinds of ‘alternative’ lifestyles and forms of spirituality, and the ‘Celtic nations’ were considered in this context as an alternative space from the conventionalities of England, where artistic freedom and spirituality could flourish. 14 By the 1970s, participants in various forms of spiritual – often ‘Celtic’ – practices

in Rocks of nation
Appointment with Fear
Richard J. Hand

Sylvia, Blaydon takes us to see the other woman in his life: Aunt Clara. Carr gives us a description of the characters, once again succinct yet highly instructive for the director and performers. The actors are informed that Blaydon’s ‘manner is on edge, but of an arch and jocose gallantry ’. This is the first time we will meet Aunt Clara, and the sixty-five year old lady is described as having a

in Listen in terror
Abstract only
Peter Marks

the film (we initially see it in the trunk of the Red Shark next to the drugs, and Duke later inhales ether through a smaller version) 41 but here it seems to represent the death of the American Dream, or one version of it. ‘We’re all wired into a survival trip now’, Duke’s voice-over tells the audience in another extended assessment taken from the book, 42 ‘no more of the speed that fuelled the

in Terry Gilliam