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Richardson‘s Gothic Bodies

In Sir Charles Grandison, Richardson anticipates the imaginary Italy of the Gothic novel. The categories of gender and nationality that Richardson constructs in the division of the ‘Names of the Principal Persons’ into ‘Men’, ‘Women’ and ‘Italians’ intersect with categories of health and illness to reinforce the opposition of a sensible, enlightened England, home of liberty and social stability, against a passionate, unstable and irrational Catholic Italy, home of wounded, mad and dangerous ‘Italians’. While the Gothic novel relies on landscape descriptions, banditti and abandoned castles to create a sense of terror, in Sir Charles Grandison, the Gothic is located, not in Italy, imaginary or otherwise, but in the bodies of the Italian characters.

Gothic Studies
Brutishness, discrimination and the lower-class wolf-man from The Wolf Man to True Blood

local Transylvanians, reiterating again the innate superiority of the native Englishman over all other nationalities: The women looked pretty, except when you got near them, but they were very clumsy about the waist … The strangest figures we saw were the Slovaks, who were more barbarian than the rest, with their big cow-boy hats … and [they] had long black hair and heavy black moustaches … On the stage they would be set down at once as some old Oriental band of brigands … rather wanting in natural

in In the company of wolves

excess connects the web of feminine stories from different ages, nationalities, ethnic traditions and both high and popular cultures. This intertextualisation – or, in Barbara Godard’s term, filliation – of the gothic has been continued and, at times, deconstructed by the neo-gothicism that I have outlined here. Still, as I have tried to show, the attractions of gothic form

in Gothic Forms of Feminine Fictions
Surreal Englishness and postimperial Gothic in The Bojeffries Saga

was increasingly foregrounded in political and cultural discourses, signalled by such disparate contemporary examples as the British Nationality Act of 1981, the Falklands conflict of 1982, inner-city riots and the growth of a heritage culture that peddled nostalgic representations of empire. The strip can be read in many ways as participating and commenting on these discourses, but also

in Alan Moore and the Gothic Tradition

subjugation. With the rise of new forms of empire and transnational capital, the active imperialisms witnessed in tangible and positioned structures of conflict related to nation states have declined, and it is not always easy to locate tangible forms of empire, particularly given their transnational nature. In Spectral Nationality , for instance, Pheng Cheah explores postcolonial anxieties about the

in Globalgothic
Medicine masculinity, same-sex desire and the Gothic in Teleny

viewed as the offspring of sexually rapacious progenitors – and are therefore, the inheritors of their defective heredity. In the construction of Teleny, the pianist’s faulty ancestry is further intensified by dint of his racial origins. He is a concert pianist of Hungarian descent. His nationality appears to be particularly relevant when examined in the light of late nineteenth

in Queering the Gothic
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darkness’ offers one of the earliest examples of globalgothic with an analysis of a global dance practice, ‘Ankoku butoh’ (‘dance of utter darkness’), first performed in Japan by Tatsumi Hijikata in 1959, on the eve of Japan’s signing of the US–Japan Mutual Defense Treaty. Butoh, Bruhm points out, is a dance devised in such a way that it is not delimited by a particular nationality or subjectivity while

in Globalgothic
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Soper observes, ties in with the imagination of nature as woman, to invoke ‘nationality in its supposedly eternal territorial fixity as land or earth’. 3 The idea of the nation as woman also typically identifies the national territory as being in need of defence or as female victim, 4 who in this case seems to have lost control of her own body, of her boundaries or skin. No longer intact, Britain

in Rocks of nation
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The dance of global darkness

) I will return momentarily to this strange ontology, but for now it is enough to say that, for Hijikata, such European inspiration is not accidental; it is part of a larger programme to devise a dance that would not be delimited by a particular nationality or subjectivity. As Lunberry argues of new Japanese dance, this ‘movement presented a curious merger of internationalism and the newly formed

in Globalgothic
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awareness of race, class, ethnicity, nationality, sexual preference and other aspects of difference – a new generation of feminine writing has arisen that redefines the established notions – mostly from the 1970s – of ‘women’s literature’ as confessional, didactic and highly serious; it also reminds us that there is not one feminism but many feminisms, in art just as in criticism. Moreover, this writing

in Gothic Forms of Feminine Fictions