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Gothic Terror(ism) and Post-Devolution Britain in Skyfall
Katarzyna Pisarska

The article examines the phenomenon of terrorism presented in Sam Mendes‘s film Skyfall (2012), with relation to Julia Kristeva‘s concept of the abject, developed further by Robert Miles in the context of nationalism and identity. While exploring the extraterritorial nature of terrorism, which in Skyfall breaches the borders of the symbolic order, threatening the integrity of the British nation-state represented by M, Bond, and MI6, the article also focuses on the relationship between the major characters, whose psychological tensions represent the country‘s haunting by the ghosts of colonialism, as Britain is forced to revisit its imperial past(s) and geographies at the fragile moment of post-devolutionary changes.

Gothic Studies
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Genre, Transformation, Transgression
Paulina Palmer

Palmer discusses Caeia March‘s Between The Worlds (1996) and Sarah Walter‘s Affinity (1999). Palmer argues that writers of lesbian fiction are drawn to the Gothic because it is a form which has traditionally given space to the representation of transgressive sexualities. The Gothic is also a vehicle through which the interrogation and problematising of mainstream versions of reality and so-called ‘normal’ values is made possible. Palmer argues that these novels parodically rework the grotesque portrayal of character, which is familiar from mainstream Gothic fiction and film, and in doing so they challenge and resignify the category of the abject to which lesbians and gay men are conventionally relegated.

Gothic Studies
Michael Chaney and Jason Lindquist

‘The Gothic Aesthetics of Eminem’ examines key videos, lyrics, and performances of the white hip-hop celebrity, noting the reoccurrence of such Gothic tropes and narrational strategies as self-replication, the spectacle of monstrous proliferation, the spread of fakery and the counterfeit, as well as the abjection of women. The authors compare Stoker‘s Dracula to Eminem, whose cultural menace similarly functions to proselytise white young men into clones, refracting the racial and sexual anxieties of Stoker‘s novel. The article moves from a consideration of the rapper‘s songs and videos ‘My Name Is’, ‘The Real Slim Shady,’ and ‘Stan’ to the film, 8 Mile.

Gothic Studies
Angelica Michelis

This article engages with the discourse of food and eating especially as related to the representation of the abject eating-disordered body. I will be particularly interested in the gothic representation of the anorexic and bulimic body in samples of medical advice literature and NHS websites and how they reinforce popular myths about anorexia by imagining the eating disordered body as a fixed object of abjection. Focusing on the use of gothic devices, tropes and narrative structure, these imaginations will be read against alternative representations of anorexic/bulimic bodies in autobiographical illness narratives, fictional accounts and a psychoanalytical case history in order to explore how gothic discourses can help opening up new understandings and conceptions of illness, healing and corporeality in the dialogue between medical staff and patients.

Gothic Studies
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Gothic Bodies and Diabetes
Tracy Fahey

The diabetic body can be mapped as a profoundly Gothic landscape, referencing theories of the monstrous, the uncanny and the abject. Diabetes is revealed under what Foucault has termed the medical gaze, where the body becomes a contested site, its ownership questioned by the repeated invasion of medical procedures. As an invisible chronic illness, diabetic lifestyle is positioned in relation to issues of control, transformation, and the abnormal normal. Translating the Gothic trope of the outsider into medical and social realms, the diabetic body is seen as the Othered body ceaselessly striving to attain perfection through blood purification rituals. This essay examines how diabetes is portrayed in film and fine art practice from the filmic approach to diabetes as dramatic trope to fine art techniques that parallel ethnographic and sociological approaches to chronic illness.

Gothic Studies
Neoliberalism, Zombies and the Failure of Free Trade
Linnie Blake

The popular cultural ubiquity of the zombie in the years following the Second World War is testament to that monster‘s remarkable ability to adapt to the social anxieties of the age. From the red-scare zombie-vampire hybrids of I Am Legend (1954) onwards, the abject alterity of the ambulant dead has been deployed as a means of interrogating everything from the war in Vietnam (Night of the Living Dead, 1968) to the evils of consumerism (Dawn of the Dead, 1978). This essay explores how, in the years since 9/11, those questions of ethnicity and gender, regionality and power that have haunted the zombie narrative since 1968 have come to articulate the social and cultural dislocations wrought by free-market economics and the shock doctrines that underscore the will to global corporatism. The article examines these dynamics through consideration of the figure of the zombie in a range of contemporary cultural texts drawn from film, television, graphic fiction, literature and gaming, each of which articulates a sense not only neo-liberalism itself has failed but simply wont lie down and die. It is therefore argued that in an age of corporate war and economic collapse, community breakdown and state-sanctioned torture, the zombie apocalypse both realises and works through the failure of the free market, its victims shuffling through the ruins, avatars of the contemporary global self.

Gothic Studies
Rhe Gothic and death in Russian realism
Katherine Bowers

’s potential as a literary mode that depicts the incomprehensible and folk belief’s ability to categorise, ritualise, and explain the unknown. The realist Gothic frames and their folkloric interiors in ‘Bezhin Meadow’ and ‘A Dead Body’ help mediate the tension between the irrational and the prosaic, the abject and the mysterious. However, as in folklore and the Gothic

in The Gothic and death
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Transitioning from film to digital
Ben Lamb

characters as a staple of horror because the genre consistently works through Julia Kristeva’s abject theory. The abject is a sight that reminds one of one’s materiality. Discovering ‘the border’ of one’s ‘condition as a living being’ provokes trauma in the form of ‘a gagging sensation’ and ‘spasms’, causing the ‘forehead and hands to perspire’ (Kristeva 1982 : 3). Creed agrees that in order for society

in You’re nicked
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Distanciation and embodiment
Deborah Martin

-fight in town; Momi’s dip in the dirty pool and careful application of sun cream to her skin; the experiments of Luchi and Momi with sensory perception, especially vision; the experiments of Tali’s daughters with their voices as they sing into a whirring fan. The sticky, swampy world of the film emphasises dirt, bodily fluids, 34 The cinema of Lucrecia Martel odours and the abject. It privileges texture: rumpled sheets, peeling walls, the feeling of shampooing long hair. Images of hands, skin and touch abound. Through texture, smell and touch the film invites an

in The cinema of Lucrecia Martel
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Place, space and the gendered body in Isabel Coixet’s The Secret Life of Words (2005)
Helena López

) facilitate a privileged space to situate the experience of abjection. The abject subject constitutes an uncanny excess threatening the symbolic order (Kristeva, 1980 ). We have already seen how this abnormal excrescence in the social tissue, incarnated by Hanna’s communicative problems at the workplace, encourages her expulsion from the social body. But this repulsion does not necessarily imply an absolute differentiation between

in Hispanic and Lusophone women filmmakers