entrepreneur but he is not an
updated version of Wilde’s dangerous, corrupted hedonist. The
novel’s reconstruction of Wilde’s narrative through Wotton
indicates an engagement with postmodern ideas, which are also
represented in the novel through numerous references to contemporary
art. The novel focuses also on the dead and the dying, and reworks the
problem of meaning and absence that characterise a
Poe‘s Anti-Representational Invocations of the Near East
Poe‘s poetry and fiction are full of cultural and religious references to the Near East. This essay suggests that Poe‘s invocations of the Near East are part of a deliberately anti-representational strategy for dealing with cultural difference that constitutes part of Poe‘s understanding of one of his most central concepts, the ‘arabesque’. This anti-representational strategy is built on Poe‘s sympathetic reading of texts associated with the Near East, Islam, and Arab and Persian cultures.
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.
Interviewing can be a vampiric act especially when it involves leeching from its subject
the fluidic exchange which exists between life and art. The vampire novelist Anne Rice had
agreed to let me interview her at Waterstones Bookshop in Bristol, England, on 26 January
1993 about the fourth book in her Vampire Chronicles, The Tale of the Body
Thief (1992). In the interview she describes the novel as dealing with the
differences between art and life and mortality and immortality. Specifically, the story
examines the paradox of choosing to be Undead for the sake of life, and the way in which
art opens up a locus for a redemption that is outside of life. In my view, the text is as
much about the process of interviewing as about authorship. A more obvious example is
Rice‘s well-known novel Interview with the Vampire (1976) in which the
hapless interviewer eventually enters into the very narrative he is recording by becoming
another Ricean revenant.
This book presents a study that is an attempt to understand the phenomenal
increase in the production and demand for stained glass between about 1835 and
1860. The book provides both history and context for thousands of Victorian
stained-glass windows that exist in churches across the country. It aims to: ask
why people became interested in stained glass; examine how glass-painters set up
their studios; and understand how they interacted with each other and their
patrons. To understand why so many windows were commissioned and made in the
Victorian period, readers need to understand how buying a stained-glass window
became a relatively ordinary thing to do. In order to examine this, the book
focuses on those who wrote or spoke about stained glass in the formative years
of the revival. It is important to look at the production of stained glass as a
cultural exchange: a negotiation in both financial and cultural terms that was
profitable for both glass-painter and patron. The history of Victorian stained
glass allows an examination of many other areas of nineteenth-century cultural
history. Readers can learn a lot about the aesthetics of the Gothic Revival,
ecclesiology, the relationship between 'fine' and
'decorative' art, and the circulation of art history in the 1840s.
While many interesting glass-painters have necessarily been omitted, the author
hopes that the case studies in the book will provide a point of reference for
the research of future scholars.
The Gothic is haunted by the ghost of William Blake. Scholars of the Gothic have long recognised Blake’s affinity with the genre, often invoking his name, characters, and images in passing. Yet, to date, no major scholarly study focused on Blake’s intersection with the Gothic exists. William Blake’s gothic imagination seeks to redress this disconnect and, in the words of another ghost, to lend a serious hearing to a dimension of Blake’s work we all somehow know to be vital and yet remains understudied. The essays here collected do not simply identify Blake’s Gothic conventions but, thanks to recent scholarship on affect, psychology, and embodiment in Gothic studies, reach deeper into the tissue of anxieties that take confused form through this notoriously nebulous historical, aesthetic, and narrative mode. The collection opens with papers touching on literary form, history, lineation, and narrative in Blake’s work, establishing contact with major topics in Gothic studies. The volume, however, eventually narrows its focus to Blake’s bloody, nervous bodies, through which he explores various kinds of Gothic horror related to reproduction, anatomy, sexuality, affect, and materiality. Rather than his transcendent images, this collection attends to Blake’s ‘dark visions of torment’. Drawing on the recent interest in Gothic studies on visual arts, this volume also highlights Blake’s engravings and paintings, productions that in both style and content suggest a rich, underexplored archive of Gothic invention. This collection will appeal to students of Romanticism, the Gothic, art history, media/mediation studies, popular mythography, and adaptation studies.
The book explores crucial questions concerning human social existence and its animal substrate, and the intersection between the human and the wolfishly bestial. The collection connects together innovative research on the cultural significance of wolves, wild children and werewolves from a variety of perspectives. We begin with the wolf itself as it has been interpreted as a cultural symbol and how it figures in contemporary debates about human existence, wilderness and nature. Alongside this, we consider eighteenth-century debates about wild children – often thought to have been raised by wolves and other animals – and their role in key questions about the origins of language and society. The collection continues with analyses of the modern werewolf and its cultural connotations in texts from nineteenth-century Gothic through early cinema to present-day television and Young Adult fiction, concluding with the transitions between animal and human in contemporary art, poetry and fashion.
from art handbooks and the popular press. Drawing from versions of the tale in Islamic and Jewish traditions, these writers and artists move beyond the biblical temptress to discuss the idea of a complex, sexually aware female character. Adapting the ancient Egyptian character, and speculating on the possibility of discovering Mrs Potiphar's mummified body, mid-Victorian writers theorise the connections between the sexualised body and experimental aesthetic form. This chapter thus recovers how mid-Victorian writers and artists, inspired by Egyptology and the
Mary Shelley’s Frankenstein is one of the most popular novels in western literature. It has been adapted and re-assembled in countless forms, from Hammer Horror films to young-adult books and bandes dessinées. Beginning with the idea of the ‘Frankenstein Complex’, this edited collection provides a series of creative readings that explore the elaborate intertextual networks that make up the novel’s remarkable afterlife. It broadens the scope of research on Frankenstein while deepening our understanding of a text that, 200 years after its original publication, continues to intrigue and terrify us in new and unexpected ways.
Ancient Egypt in the aesthetic and decadent imaginary
Egypt in the literature of the period: firstly, in an argument derived from Hegel's Aesthetics (1818–29), Egypt is figured as a ‘Symbolic’ mystery, whose art is underdeveloped by comparison to the ‘Classical Ideal’;
secondly, and concurrently, Egypt is figured as a site of ennui, where these symbolic aesthetic dimensions are linked intrinsically to a melancholic decadence and to death; thirdly, and finally, Egypt is figured for its eroticism. The three discourses relate insofar as the philosophical ideas rely upon