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Transnational harvest horror and racial vulnerability at the turn of the millennium
Sara Wasson

question of who owns tissue can be hotly contested, as seen in the case of John Moore v Regents of the University of California (1990). 23 Moore fought to have rights recognised to his cancer cell tissue that had been developed into a profitable immortal cell line. When it comes to transplantation, almost every country in the world has laws against selling solid organs (with the notable exception of Iran), and multiple international resolutions and guidelines condemn such transactions, including The Council of Europe Convention on Human Rights and Biomedicine (1997

in Transplantation Gothic
Essence, difference and assimilation in Daniel Waters’s Generation Dead
Bill Hughes

Vampire Literature, at least since Le Fanu’s ‘Carmilla’ ( 1872 ), has been conspicuously about ‘Otherness’, that crucial term of identity politics, and has thus rendered itself most obligingly to interpretation in terms of those politics. In a concise survey of the history and problems of identity politics, Cressida Heyes says

in Open Graves, Open Minds
Kamilla Elliott

narratives of picture identification. Picture identification grows out of imago dei (man made in the image of God): both portraits and sons are made in the images of fathers, forging parallel chains of hierarchical, patriarchal imaged identities. Ancestral portrait galleries tie aesthetically created imaged identities to humanly procreated imaged identities. Portraiture ‘articulated the patriarchal

in Gothic kinship
Abstract only
Agnes Andeweg and Sue Zlosnik

preoccupation with transgression, to call into question those boundaries that appear to underpin social relationships. Thus Gothic, while often seeming conservative in its plot closures, also opens up a radically transformative space in which alternative relationships may be configured. Both contesting and reinforcing notions of the nuclear family, Gothic fiction may offer figurations of alternative kinship

in Gothic kinship
Locating the globalgothic
Justin D. Edwards

concerned not only with individual subjectivity (gender, ethnicity, religion, racial identity) but also with the relations between individuality and the spectral movements of global forces that are uncontrollable and unpredictable. One of the ways of thinking about globalgothic, then, is in relation to migrations or displacements that can, in some cases, engender social dislocations, cultural changes

in Globalgothic
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1990s style and the perennial return of Goth
Catherine Spooner

identity, and as such represents another manifestation of the Gothic preoccupation with clothes. The influence of Goth style, however, has also altered the way in which clothing is represented in Gothic discourses. In the 1990s, ‘Gothic’ clothing was specifically that which recalled the clothing worn by participants in Goth subculture. This chapter will attempt to untangle some of the ways in

in Fashioning Gothic bodies
Wilde’s Art
Andrew Smith

, low (dirty) truth. The very double quality of the novel enables these exchanges to take place as Carson finds that the narrative works, seemingly simultaneously, on symbolic and literal levels; a double quality which suggests the presence of a covert strategy relating to sexual identity. However, the hidden symbolic narrative cannot be animated by a legal discourse which principally concerns itself

in Victorian demons
HBO’s True Blood
Michelle J Smith

what might be interpreted as racial identities, from the vampire, werewolf, werepanther, fairies and witches, to shape-shifters such as the bar-owner Sam Merlotte (Sam Trammell). Gothic fictions once expressed a fear of the possibility of a diversity of races coming together. As Gelder writes of the racial threat posed by vampires, ‘Diversity means instability: it invites contestation: identities

in Open Graves, Open Minds
Patricia Duncker’s The Deadly Space Between and The Civil Partnership Act
Anne Quéma

exploration of gender, sexuality and kinship in Patricia Duncker’s The Deadly Space Between (2002). 7 If the legal meaning of the Act derives from its intertextual relation to other texts of family law, and if Duncker’s novel is inscribed in a literary genealogy of representations of desire and identity, their significance is accrued when cross-examined as part of the

in Gothic kinship
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The cartographic consciousness of Irish gothic fiction
Christina Morin

, it points to the contested nature of the country's history. Although the Irish families to whom Louisa refers deploy the term ‘Milesian’ as a mark of pride in their lineage, the reminder of their august heritage is also a reminder that, as Kilfeather put it, ‘England is only the latest in a series of colonial powers to invade Ireland, and that the country has no native identity’. 45 The notion of colonial invasion is supported in the text by the character of Colonel Walter, an early version of the absentee landlord, who has

in The gothic novel in Ireland, c. 1760–1829