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Steven Bruhm

C an there be a queer Michael Jackson? In some ways the question is naive: Michael Jackson can be nothing but queer , if we take ‘queer’ to mean sexually ambiguous, protean, corporally illegible. Yet critically speaking, there is no queer Michael Jackson: the MLA on-line bibliography gives me no hits for Michael+Jackson+queer (or ‘+gay’ or

in Queering the Gothic
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Gothic, in a sense, has always been 'queer'. This book illustrates the rich critical complexity which is involved in reading texts through queer theories. It provides a queer reading of such early Gothic romances as William Beckford's Vathek, Matthew Gregory Lewis's The Monk, and Charles Maturin's Melmoth the Wanderer. Building upon critical trend of desire between men, the book examines Frankenstein's engagement with sexual rhetoric in the early nineteenth century. It explores some ways in which the signifying practices of queerness are written into the language and, therefore, the signifying practices of Gothic fiction. Teleny's apparently medicalised representation of homosexual erotic love contains some strikingly Gothic elements. The book examines how the courtroom drama of the E. M. Forster's A Passage to India focuses on the monstrous possibility of miscegenation, an Indian accused of raping an Englishwoman. Antonia White's Frost in May can be contextualised to the concept of the 'lesbian Gothic', which helpfully illuminates the representation of adolescent female subjectivity and sexuality. Same-sex desire is represented indirectly through sensuous descriptions of the female body and intertextual allusions to other erotic texts. The book considers how the vampire has become an ambivalent emblem of gay sexuality in late twentieth-century Gothic fiction by examining Interview with the Vampire and Lost Souls. The understanding of the Gothic and queer theory in a pop video is achieved by considering how Michael Jackson's use of the Gothic in Thriller and Ghosts queers the temporality of childhood.

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Queering the Gothic
William Hughes and Andrew Smith

supportive community, existing within the world of mortals and straight sexuality but not necessarily committed to it. In ‘Michael Jackson’s queer funk’, Steven Bruhm (Chapter 10), considers how Michael Jackson’s use of the Gothic in Thriller (1983) and Ghosts (1997) queers the temporality of childhood. By placing the medieval danse macabre at the heart of these two videos, Jackson figures childhood (his

in Queering the Gothic
Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

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Author: Rachael Gilmour

At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.

Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Matt Qvortrup

democracy “voting yes” is not necessarily a desirable outcome. Nevertheless, the process in Ireland was seen as one that provided for a more balanced debate – something that is even acknowledged by the opponents of abortion such as Archbishop Michael Jackson, who spoke about the positive debate and “the telling and listening to stories”. And he continued, in a paragraph that sums up

in Democracy on demand
Chris Morris and comedy’s representational strategies
Brett Mills

, while at the same time its inability to present certain issues is underlined. It is this contradiction which is at the heart of Channel 4’s comedy output, for it is a public service broadcaster whose remit to produce innovative programming for minority audiences can land it in trouble when mass audiences see things not intended for them, as its ex-Chief Executive Michael Jackson notes.22 The ethical stance that broadcasting should, as much as possible, seek to minimise offence demonstrates the socially cohesive nature central to the public service broadcasting ethos

in Experimental British television
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Beyond the politics of identity?
Geraldine Harris

M410 HARRIS TEXT.qxd 20/7/06 11:35 AM Page 1 Phil's G4 Phil's G4:Users:phil:Public: Introduction: beyond the politics of identity? The title for this book is inspired by a 1998 radio interview in which Michael Jackson, then controller of Channel 4, was asked about the company’s current position on its policy of catering for ‘minority’ or ‘special interest’ groups, established as part of its original charter in the 1980s. Taking the series Queer as Folk (1998) as an example, Jackson stated that it is now possible to go beyond ‘simple, positive representations

in Beyond representation
Open Access (free)
Paul Latawski and Martin A. Smith

the international demands, compliance with which was necessary to end the bombing. 19 After brief negotiations with NATO, represented by Lieutenant General Sir Michael Jackson, the FRY leadership agreed to withdraw its security forces and accept a NATO-led peacekeeping force and a UN international administration mission in Kosovo. These points were incorporated into Security Council Resolution 1244, which was passed

in The Kosovo crisis and the evolution of post-Cold War European security