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Theorizing the Nineteenth-Century Gothic Pharmography
Carol Margaret Davison

Liberty, a term dear to the Enlightenments emancipatory project, has long been a key concept in the Gothic. No branch of the Gothic more powerfully or creatively examines the complexities of the liberty question than the Gothic pharmography – a narrative chronicling drug/alcohol seduction and addiction. Drawing on three novelistic sub-genres – the Oriental tale, the imperial Gothic, and the Urban Gothic – the Gothic pharmography coalesces several distinct nineteenth-century debates – the nature of the will and liberal individualism; social oppression and conformity; urban and national degeneration; and British imperialist expansion, which involved the perceived anxiety-inducing sense of Britains growing economic dependence on the non-Western world. This essay offers an overview of the Gothic pharmography from the late eighteenth century through to the fin de siècle in Marie Corelli‘s Wormwood.

Gothic Studies
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Filippo Focardi

set in German-occupied Yugoslavia, with the Germans portrayed as a much more credible brutal oppressor. Moreover, one reason for the international success of Mediterraneo , which won an Oscar for the Best Foreign Language Film in 1992, is, in all probability, that it corresponded to an image of Italians at war dear to British and American audiences. It is no coincidence that the same image is portrayed in the Hollywood film Captain Corelli’s Mandolin (2001), based on the novel of the same name by Louis de

in The bad German and the good Italian
Space, power and governance in mid-twentieth century British cities

Reconstructing modernity assesses the character of approaches to rebuilding British cities during the decades after the Second World War. It explores the strategies of spatial governance that sought to restructure society and looks at the cast of characters who shaped these processes. It challenges traditional views of urban modernism as moderate and humanist, shedding new light on the importance of the immediate post-war for the trajectory of urban renewal in the twentieth century. The book shows how local corporations and town planners in Manchester and Hull attempted to create order and functionality through the remaking of their decrepit Victorian cities. It looks at the motivations of national and local governments in the post-war rebuilding process and explores why and how they attempted the schemes they did. What emerges is a picture of local corporations, planners and city engineers as radical reshapers of the urban environment, not through the production of grand examples of architectural modernism, but in mundane attempts to zone cities, produce greener housing estates, control advertising or regulate air quality. Their ambition to control and shape the space of their cities was an attempt to produce urban environments that might be both more orderly and functional, but also held the potential to shape society.

Open Access (free)
Mike Huggins

doped to increase their speed. The 1920s moral panic associated with the race gangs prefigured 1930s concerns over the cinema and youth. The Jockey Club and NHC could be seen as in effect puppet rulers, unable as much as unwilling to intervene unless they had the support of those within racing, slow and reluctant to act against those with power, and only tough on the weak. The respect accorded to amateurism in cricket, and resistance to the greater commercialism of the game, it has been argued, lends support to the views of Martin Weiner, Corelli Barnett and others in

in Horseracing and the British 1919–39
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British theatre and imperial decline
Dan Rebellato

brought by global capitalists for whom the protectionism of the sterling area was an impediment to exploring new markets, the right-wing Suez Group’s interpretation was simple: Britain had lost the will to rule. Corelli Barnett defended and developed this view in his book The Collapse of British Power , in which he claims that the decline of empire was due to Romantic anti-materialism, etiolated public

in British culture and the end of empire
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Female body hair on the screen
Alice Macdonald

slightest of dark shadows on Hayek’s upper lip and is further diminished in importance by the exoticism of her Mexican dress and coiffure. Instead, the film relies on her dark and heavy eyebrows – a less-taboo area for female facial hair – to signify Kahlo’s ‘hirsutism’. 57 In the Hollywood mainstream film Captain Corelli’s Mandolin , 58 however, we can find an unusual instance of female body hair being used positively, in a way that inverts the ‘hairless ideal’. Set on the ‘unspoilt’ island of Cephalonia during the Second World War, the

in The last taboo
Ginger S. Frost

his wife before he married Alford, his mistress. His daughter, Jane Panton, was estranged from her father from that time on.63 For another, working-class mistresses who became wives had to be secretive about their backgrounds. Marie Corelli’s father, Dr Charles Mackay, had probably been having an affair with ‘“an imperfectly educated young woman”’, Mary Mills, since at least 1853, when his wife Rosa left him. Mackay supported her and their daughter (born c. 1855) until a year after his wife’s death, in 1861, when they married. Despite this, Corelli always asserted

in Living in sin
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Beatrice Grimshaw and the commercial woman writer
Jane Mahony
and
Eve Patten

in 1908 to found their own house: Mills & Boon. Sir Algernon Methuen was an early publisher of cheap fiction, and Methuen was notable for publishing the book considered to be the first ‘best-seller’ in Britain, Marie Corelli’s second novel, The Sorrows of Satan, in 1895.45 At a time when a sale of 1,000 copies was considered excellent, Corelli’s book sold 20,000. Boon and Mills were well trained by Methuen in new publishing methods, and, as the firm’s historian, Joseph McAleer, has noted, published books ‘in a form and at a price that was within the reach of a wide

in Irish women’s writing, 1878–1922
Victorian reclamations of a biblical temptress
Angie Blumberg

– particularly her mummified remains. Most of these studies focus on the late Victorian figure of the New Woman, addressing how, during the British unofficial occupation of Egypt beginning in 1882, gender politics and imperial politics often operated in tandem. 2 Such studies often focus on H. Rider Haggard's Ayesha ( She , 1887 ) or Cleopatra ( Cleopatra , 1889 ), Bram Stoker's Queen Tera ( The Jewel of Seven Stars , 1903 ), Marie Corelli's Ziska ( Ziska , 1897) and Oscar Wilde's Salome ( Salome , 1891 ), as well as a few

in Victorian literary culture and ancient Egypt
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‘This is that devil’s trick – hypnotism!’
William Hughes

. 13 Du Maurier, Trilby , pp. 51, 52, 400. 14 Consider here, for example, the polemical as well as novelistic interventions of Marie Corelli, a writer of similar stature to du Maurier at the time. See Marie Corelli, Wormwood: A Drama of Paris [ 1890 ], ed. Kirsten

in That devil's trick