Samuel Willes and the 7th Earl of Huntingdon
William Gibson

Chapter 10 . A chaplain and his patron: Samuel Willes and the 7th Earl of Huntingdon William Gibson A rarely considered aspect of the cultural agency of chaplains is the ways in which a chaplain’s relationship with his patron contributed to an ambient and pervasive culture of patronage in wider society in early modern England. Patronage was an essential element in a society which lacked the educational and recruitment systems of an industrial economy. Without the opportunities to advertise vacancies, to calibrate and measure merit and potential, and to select

in Chaplains in early modern England
Stacy Gillis

This article provides a reading of gender politics in cyberpunk, drawing upon the Gothic, the cyborg and the (post)feminist subject. This reading is effected through an account of the ass-kicking techno-babe, a crucial component of the masculine strand of cyberpunk which valorises a masculinity and technology dialectic and draws upon film noir, with its hardboiled detectives and monstrous femmes fatales. From Molly Million‘s in Neuromancer to Y.T. in Neal Stephenson‘s Snow Crash (1992) and Trinity in Andy and Larry Wachowski‘s Matrix trilogy (1999–2003), this figure of the femme fatale demonstrates that the (post)feminist project of the ass-kicking techno-babe has found a home in the Gothic aesthetics of the noir-inf(l)ected genre of cyberpunk. The account of how hyper-sexualised cyborgic female bodies are positioned in contrast with the repressed bodies of male hackers reveals the destabilising conundrum of supposed agency contained by the determinacy of the (post)feminist body.

Gothic Studies
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Hugh Adlington, Tom Lockwood and Gillian Wright

that chaplains were often younger – and in some cases, of a lower social background – than the patrons over whom they, in theory, exercised spiritual authority.9 The early modern English chaplain, however, for all his cultural significance, remains a little studied figure, and may have been so even at the time. ‘Bishops or Presbyters we know & Deacons we know, but what are Chaplains?’, asked Milton.10 To date, just one single-volume study of the early modern chaplain has attempted an answer. William Gibson’s A Social History of the Domestic Chaplain, 1530-1840 (1997

in Chaplains in early modern England
Chris Abel

the street with a suitable handheld device – transformed the fundamentals of human connectivity in the electronic age. Significantly, in explaining the impact of the Net on our lives and consciousness, not only architects and urbanists but also writers in other fields commonly fall back on metaphors originating in the physical and spatial world of cities and urban communities, as well as other analogies with familiar cultural and social concepts. Even when the most fervent devotees of the Net, including science fiction writers like the much-quoted William Gibson,1

in The extended self
Social and cultural modernity beyond the nation-state
Author: Shivdeep Grewal

German philosopher Jürgen Habermas has written extensively on the European Union. This is the only in-depth account of his project. Published now in a second edition to coincide with the celebration of his ninetieth birthday, a new preface considers Habermas’s writings on the eurozone and refugee crises, populism and Brexit, and the presidency of Emmanuel Macron.

Placing an emphasis on the conception of the EU that informs Habermas’s political prescriptions, the book is divided into two main parts. The first considers the unfolding of 'social modernity' at the level of the EU. Among the subjects covered are Habermas's concept of juridification, the latter's affinities with integration theories such as neofunctionalism, and the application of Habermas's democratic theory to the EU. The second part addresses 'cultural modernity' in Europe – 'Europessimism' is argued to be a subset of the broader cultural pessimism that assailed the project of modernity in the late twentieth century, and with renewed intensity in the years since 9/11.

Interdisciplinary in approach, this book engages with European/EU studies, critical theory, political theory, international relations, intellectual history, comparative literature, and philosophy. Concise and clearly written, it will be of interest to students, scholars and professionals with an interest in these disciplines, as well as to a broader readership concerned with the future of Europe

Science fiction and the futures of the body
Alistair Brown

embodied birth, is transgressed through technology. However, what happens when the body is removed from the equation entirely? William Gibson’s seminal cyberfiction, Neuromancer (1984), 13 suggests that whatever cultural perceptions we have of incest, kinship or sexuality in the human context today may be rendered irrelevant in a future in which individual (dis)embodiment is disconnected from the ethics of the body

in Incest in contemporary literature
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Mariko Hori Tanaka, Yoshiki Tajiri and Michiko Tshushima

War, science fiction that dealt with global calamity became popular. Porter Abbott categorises Beckett’s works after Endgame as ‘utopian fictions’ (1996: 133), while Veronica Hollinger finds in the play the sense of forever unending, an end endlessly deferred. Such a sense is found in the post-9/11 novel by William Gibson, Pattern Recognition, set in the endless endtimes 1­ 6 Samuel Beckett and trauma of the future-present (Hollinger, quoted in Mousoutzanis, 2014: 125). Our post-Holocaust world is filled with repeated calamities such as wars, conflicts and

in Samuel Beckett and trauma
Rowland Wymer

in society and not in solitude. 20 To give a simple example, the connotations of hope and joy which grey possessed in the late Middle Ages would be unlikely to shape any modern reader’s response to the famous opening sentence of William Gibson’s cyberpunk novel Neuromancer (1984): ‘The sky above the port was the color of television, tuned to a dead channel.’ 21 Both Gage

in Derek Jarman
Recursive and self-reflexive patterns in David Cronenberg’s Videodrome and eXistenZ
Steffen Hantke

-pod technology brings to mind William Gibson’s famous phrase of cyberspace as ‘consensual hallucination’ (Gibson, 1984 : 5); it is intersubjective and social by nature, as players connect to each other via pods and ‘umbi-cords’. But it also serves as an escape from unpleasant realities outside the game; Geller tends to retreat into ‘eXistenZ’ especially when she is bored. Given the eroticised shape and

in Monstrous adaptations
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Nineties’ gothica
Susanne Becker

world. This would make the perfect Hollywood plot; however, her creator Ian Livingston points out the paradox of the virtual woman: ‘She is what you want her to be: Lara is everything to everybody. Which actress could play her – which woman is good enough to be Lara Croft?’ 3 William Gibson had just parodied, in Idoru (1997), the constructions of celebrity – and reality is

in Gothic Forms of Feminine Fictions