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Fur, fashion and species transvestism
Catherine Spooner

The September 2015 issue of British Elle and several other fashion magazines carried a pull-out advertisement for Ralph Lauren's Autumn/Winter 2015 collection. Shot by the celebrated British photographer Jimmy Nelson on location in Finnish Lapland, the sequence of images featured a northern-European-looking blonde woman (the Dutch model Sanne Vloet) dressed in a variety of luxurious furry garments and ethnic-style jewellery, accompanied by Siberian huskies and juxtaposed with pictures of reindeer. In one particularly striking, wide

in In the company of wolves
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Maria Holmgren Troy, Johan Höglund, Yvonne Leffler and Sofia Wijkmark

background, sometimes transformed into something else, sometimes appearing in their original shape as hauntings from the past. Nordic Gothic deals with texts that relate to the Gothic in different ways; while some can be defined as typically Gothic, others are better described as inspired by the genre or examples of hybrid combinations of genres. Regarding ‘Nordic’, it should be observed that this concept has changed substantially over the centuries, as nations, languages, cultures and ethnicities have transformed it and been transformed within it

in Nordic Gothic
Nordic Gothic and colonialism
Johan Höglund

-century colonial project. However, a number of recent studies have observed that the Nordic nations were in fact active participants in various colonial projects inside and outside the nation's borders. As argued by Keskinen et al in Complying with Colonialism: Gender, Race and Ethnicity in the Nordic Region ( 2009 ): [N]orth-European countries have taken, and continue to take, part in (post)colonial processes. The lure of an enterprise as powerful and authoritative as the Western civilising project, attracts

in Nordic Gothic
The demonic adoptee in The Bad Seed (1954)
Elisabeth Wesseling

Adoption is a means of forging kinship with great Gothic potential. An innocent-looking little stranger from unknown background is received within the bosom of a well-meaning family, and then what? Clearly, anything may and does happen in Gothic fiction, although it took a while before things became really nasty. To be precise, it took until 1954, when the Southern American

in Gothic kinship
Or, Here we go round the upas tree
W. J. McCormack

, painful adjustment that a complementary process of re-enchantment or mystification began to take place. Two new concepts entered the vocabulary of social description in search of acceptance as normative, even as self-evident truths, later to combine as ‘the Anglo-Irish Protestant Ascendancy’. The Anglo-Irish’ emerged slowly as a quasi-ethnic category. Initially it had denoted no such

in Dissolute characters
Couperus and colonial Gothic
Rosemarie Buikema

literature. Evaluating the complex load of Gothic machinations in The Hidden Force therefore means that Couperus’s great East Indies novel should not only be read against the background of the changing Dutch colonial policy of around 1900: in particular, it should also be related to the corresponding specific kinship relations such as they were engrained in notions of masculinity, femininity and European

in Gothic kinship
Dreams of belonging in Cornish nationalist and New Age environmental writing
Shelley Trower

words, for which we can find historical background in the nineteenth-century association between the ‘primitive’ land and its people. Previous chapters have explored how the ‘primitive’ was often perceived as threatening, although it also continued to be romanticised, as a kind of authentic, creative unconscious force by D. H. Lawrence, for example. While the previous two chapters have explored the

in Rocks of nation
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The disinherited of literary history
W. J. McCormack

vertiginous change. Ascendancy aims to eclipse history, yet the term itself implies a process of rising and falling eminence. It suggests exclusivity, yet it depends on the mongrel elements of an emergent ethnicity. It is these contradictions which the spasmodic characters of Le Fanu’s stories and novels so vividly indicate. For to advance a case for Le Fanu’s fiction as serialism is to run the risk of

in Dissolute characters
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Susanne Becker

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
The contrasting fortunes of Northern Irish, Scottish and Welsh television drama in the 1990s
Steve Blandford

Tiger Bay that had the structure to suggest a genuinely long-running popular serial. Its initial run introduced audiences to a large cast of characters with the usual range of ages and backgrounds designed to maximise the breadth of the audience. Tiger Bay’s strength lay in the potential tensions arising from its setting in the old docklands area of Cardiff, which has undergone a radical transformation in the last twenty years. To some extent, Tiger Bay attempted to reflect these tensions, sometimes in rather clumsy ways, and there was a sense of a shifting

in Popular television drama