This book is a study of constructions of masculinity in a range of medical, cultural and Gothic narratives at the fin de siecle. The final decades of the nineteenth century provide a particularly complex set of examples of how the dominant masculine scripts came to be associated with disease, degeneration and perversity. The book first outlines the theories of degeneracy, explaining how they relate to masculinity. It then charts an alternative British tradition of degeneracy as this British context provides a more immediate background to the case histories that follow. The book presents a close reading of Sir Frederick Treves's Reminiscences; Treves's memoirs focus on the issues confronted by doctors working in the late Victorian period. The Whitechapel murders of 1888 are then discussed. The book focuses on how and why the medical profession became implicated in the murders. The murders also suggested the presence of a demonic, criminalised form of masculine control over the East End. Continuing with its focus on medicine, the book discusses medical textbooks on syphilis in the 1880s and how they responded to a shift in attitude towards attributing responsibility for the spread of syphilis. An examination of how London appears as a gendered space in the work of male authors such as Thomas De Quincey, and Charles Dickens, and later Arthur Conan Doyle and Bram Stoker, is presented. Finally, some aspects of Oscar Wilde's trials are also examined as well as a range of his writings.
presented as an attempt to undo the malign influence of the Millennium Dome, Sinclair characterises his project in Downriver as intending to counter the ‘demonic’ influence of Margaret Thatcher herself. The imagination of London (in Downriver , in Moorcock’s Mother London , in The Last of England ) becomes a means by which to resist the ideological and physical reinvention of the city symbolised in the Docklands.
Roger Luckhurst, in ‘The contemporary LondonGothic and the “spectral turn”’, also suggests that Sinclair’s writing be considered
Networked spectrality in Charlie Brooker’s 'Be Right Back’
Fall of the English Ghost
Story (London: Faber).
E. (1959) The Presentation of Self in Everyday Life (Garden
City, NY: Anchor).
O. (dir.) (2013), ‘Be Right Back’, Black Mirror
[Television], written by C. Brooker (London: Endemol).
Luckhurst, R. (2002) ‘The contemporary LondonGothic
narrative in Mara and Dann .
The representation of Ben in The Fifth Child is, as Yelin suggests, intimately related to the decade of the 1980s and what that signified in British culture. However, rather than evoking a white British motherland threatened by ‘the enemy within’ in order to construct an ‘exclusionary concept of national identity’, 26 Lessing attempts something rather different: something that closely resembles what has come to be known as the urban gothic. According to Roger Luckhurst, in his account of ‘Londongothic’, British
Places and spaces in Johan Theorin’s Öland quartet series
. Phillips and A. Witchard (eds), LondonGothic: Place, Space and the Gothic Imagination (London and New York: Continuum Literary Studies, 2010). Gothic topography is used to explore location in relation to national and geographical traditions, as in P. M. Mehtonen and M. Savolainen (eds), Gothic Topographies: Language, Nation Building and ‘Race’ (Farnham and Burlington: Ashgate, 2013); and in ‘Part II: Gothic Locations’, in C. Spooner and E. McEvoy (eds), The Routledge Companion to the Gothic (London and New York; Routledge, 2007), pp. 49–124. A distinction between
Forensic Cultures’, Studies in History and Philosophy of Biological
and Biomedical Sciences, 44:1 (2013), 1–3; Ian Burney and
Neil Pemberton, ‘Bruised Witness: Bernard Spilsbury and the
Performance of Early Twentieth-Century Forensic Pathology’,
Medical History, 55:1(2011), 41–60; Ian Burney and Neil
Pemberton, ‘The Rise and Fall of Celebrity Pathology’, British
Medical Journal (14 December 2010), 1319–21.
18 Lawrence Phillips and Anne Witchard (eds.), LondonGothic: Place,
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Space and the
architect in London.
Gothic did not, however, displace neoclassical. At the same time as the Scottish
church was being built, the garrison church was constructed in a neoclassical
style near the Barrakka Gardens (moving from God to Mammon, it is now the
Bourse). Other neoclassical buildings included the Corradino prison, the lunatic
asylum (as it was called then) and the Palladian chapel of the charitable hospitals.
Indeed the coexistence of the two styles was neatly symbolised by the fact that a
pumping station (at Gzira) was built in a Gothic style