Concerns of linguistic, cultural and military incursion from France emerge more frequently in the wake of the Seven Years’ War. In the literary arena, one of the ways in which these concerns are marked is through the highly-contested national stakes of chivalry. This essay argues that these national stakes of chivalry are negotiated in the realm of the Gothic romance in a particularly fluid and dynamic manner. Addressing recent critical assumptions about the conservatism inherent in prose treatments of medieval chivalry, the essay explores the possibility that Gothic romance recuperates a more positive version of chivalry in the wake of the famous Burke/Wollstonecraft revolutionary debate of 1790.
This essay argues that Stephen King‘s 2006 novel Cell explores the age of terror with the aid of two concurrent Gothic discourses. The first such discourse belongs to the tradition that Patrick Brantlinger has termed Imperial Gothic. As such, it imagines with the War on Terror that the threat that the (Gothic) Other constitutes is most usefully managed with the help of massive, military violence. The other, and more traditional, Gothic discourse radically imagines such violence as instead a War of Terror. The essay then argues that Cell does not attempt to reconcile these opposed positions to terror. Instead, the novel employs the two Gothic discourses to describe the epistemological rift that terror inevitably creates.
Forbidden Planet, Frankenstein, and the atomic age
Dennis R. Perry
Franklin D. Roosevelt that building the atomic bomb was possible, later condemned the use of the bomb against Japan, and was sympathetic toward the Atomic Scientists movement (Clark 752). Having helped determine the outcome of World War II, the scientists involved in the movement had become important players on the world stage and changed the course of international politics. At the same time, more practical military and government officials pushed back against the idea that civilian scientists should regulate nuclear research. They recognised that less reasonable
Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison
-state divided between Scottish and British identity.
Importantly, Frank’s repression of his ‘maternal’ side also results in his lack of a balanced personality and transformation into an aggressive, militaristic machine. His hippie father, ironically, produces a warmonger. As Banks has explained in various interviews, The Wasp Factory is an attack on the British male military establishment (McVeigh 3): since the Act of Union, and particularly since the defeat of the Jacobites in the mid-eighteenth century, Scotland has experienced a political
everyone in his world, and can therefore be considered an act of genocide, just as the Holocaust was.
The ultimate architect of the Final Solution, Adolf Hitler, had his own associations with the wolf. The name of the Nazis’ military HQ on the Eastern Front was the Wolfsschanze , or Wolf's Lair. Peter Arnds has argued in strong Freudian fashion that Hitler identified deeply with the animal – the name Adolf derives from the Germanic Adalwolf , meaning ‘noble wolf’ – and even that he was familiar with Disney's cartoon and was heard to whistle ‘Who
The Frankenstein Complex: when the text is more than a text
Dennis R. Cutchins and Dennis R. Perry
’s attempt to wrest control of the bomb from the military as a reflection of the Frankenstein power motifs in the film. Kyle Bishop ( Chapter 6 ), on the other hand, examines television, an under-explored medium of Frankenstein adaptations. TV adaptations of Frankenstein , he argues, tend to be more fragmented and tangential than full-length films, often appearing as special episodes in series like Buffy the Vampire Slayer and X-Files. Unsurprisingly, Victor and his monster seem quite at home within the fragmented structure of television. Morgan C. O’Brien ( Chapter 5
Responsibility and obedience in I, Robot and X-Men: First Class
in fact has two creators in X-Men: First Class : Dr Klaus Schmidt/Sebastian Shaw, and Dr Charles Xavier, whose first meeting with Lehnsherr fittingly occurs at precisely the moment when Lehnsherr finds the man he has been longing to punish for much of his life. This is also the scene in which the film’s two interwoven plot-lines – one centred on Lehnsherr, the other centred on Xavier and his adopted sister, Raven (Jennifer Lawrence) – intermingle. Accompanied by CIA Agent Moira MacTaggert (Rose Byrne), Xavier travels on a military ship, trying to help the
goods’, it is common to differentiate between different types of colonial project.
The most common type of colonisation that the major European empires engaged in was overseas colonialism, where European explorers, missionaries, military, traders, teachers and other agents of empire travelled across the Atlantic, the Pacific or simply the Mediterranean to invade and settle land not adjacent to their own national borders. Among the Nordic nations, the Danish-Norwegian union, and then Denmark alone, practised this
his discussion about the uncanny ( das Unheimliche ): ‘what is concealed and kept out of sight’,
as opposed to heimlich in the sense of what is familiar or homelike. John Beck suggests that Los Alamos, as a setting in novels, ‘has come to represent the concealment of power in its most deadly military form, a power folded into the deep time of the Southwestern landscape’.
In his book on the Manhattan Project in post-Cold War New Mexico, anthropologist Joseph
regular military. In the seminal ‘Battle of Godfrey’s Cottage’ (first transmitted 8 March 1969), for instance, Captain Mainwaring (Arthur Lowe), believing himself to be isolated with just Jones (Clive Dunn) and Frazer (John Laurie) to defend Walmington-on-Sea, remarks without irony, ‘It’ll probably be the end of us. But we’re ready for that, aren’t we men?’. When Jones and Frazer assent, Mainwaring adds, ‘Good show’ with a genuinely stiff upper lip. Whilst, then, Mainwaring is himself frequently a comic butt in the series for his pomposity about the Home Guard’s role