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The official journal of the International Gothic Association considers the field of Gothic studies from the eighteenth century to the present day. The aim of Gothic Studies is not merely to open a forum for dialogue and cultural criticism, but to provide a specialist journal for scholars working in a field which is today taught or researched in almost all academic establishments. Gothic Studies invites contributions from scholars working within any period of the Gothic; interdisciplinary scholarship is especially welcome, as are readings in the media and beyond the written word.

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Experiments in cultural criticism
Editors: Jackie Stacey and Janet Wolff

Writing Otherwise is a collection of essays by established feminist and cultural critics interested in experimenting with new styles of expression. Leading figures in their field, such as Marianne Hirsch, Lynne Pearce, Griselda Pollock, Carol Smart, Jackie Stacey and Janet Wolff, all risk new ways of writing about themselves and their subjects. Contributions move beyond conventional academic writing and into more exploratory registers to consider subjects such as: feminist collaborations, memories of dislocation, movement and belonging, intimacy and affect, encountering difference, passionate connections to art and opera. Some chapters use personal writing to interrogate theoretical issues; others put conceptual questions next to therapeutic ones; all of them offer the reader new ways of thinking about how and why we write, and how we might do it differently. Discovering the creative spaces in between traditional genres, many of the chapters show how new styles of writing open up new ways of doing cultural criticism. Aimed at both general and academic readers interested in how scholarly writing might be more innovative and creative, this collection introduces the personal, the poetic and the experimental into the frame of cultural criticism. This collection of essays is highly interdisciplinary and contributes to debates in sociology, history, anthropology, art history, cultural and media studies and gender studies.

Economy, exchange and cultural theory

for the problematic yet productive interaction between cultural criticism’s own economy and the field of economics, the second section turns to the question of gift-exchange that has so interested theorists this century working across the various disciplines of anthropology, sociology, economics, semiotics and philosophy. It is here I argue that the question of the gift, as

in Rethinking the university
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A note on conceptual salvage

that by Mark Edmundson (1994), in an article on the problems of cultural criticism more generally. A passage from it is worth quoting in full: Eagleton’s criticisms of his Marxist predecessors are vaguely poststructuralist: he thinks he’s locating significant epistemological fault lines in their writings. Often these are points where expression and intention – or the figurative and the literal – seem to part company. When it comes to his postmodern contemporaries, however, Eagleton is inclined to excoriate them for leading readers towards relativism. In other words

in Theorising Media
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Literary criticism and the colonial public

. The publishing business and the reviews and reviewers that had become part of the same commercial apparatus were governed by the logic of mass production, standardisation and levelling-down. This complex of metaphors, fundamentally industrial rather than (as in some other interpretations of modern culture) commercial, structured the Scrutiny movement’s cultural criticism. 18 Writing about short

in The cultural construction of the British world
Advertising, morality and consumer desire

-expressive views of human beings and their relationship to the world of goods proposed by advertising people. These were intellectual divisions that cut to the heart of the post-war affluent society and its expanded ethic of consumption. This chapter focuses on three key set-piece moments in the debate on advertising that were filtered through the machinery of Parliament and the party system, as well reflecting on the more familiar terrain of social and cultural criticism. There is a good reason for this emphasis. In the committee rooms where witnesses were cross-examined and

in Hard sell
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Telling the truth

describing the spine that runs though his work. Realism, with its various qualifiers – social, magical, hyper – and its near-synonyms (notably naturalism), is a much-debated term in cultural criticism. Contested, rejected and renewed, it has remained remarkably resilient, adapting to each new twist of cultural fashion and political circumstance. For Garnett, realism is both method and intention, a set of priorities for encountering the social world and a means of representing it. As he put it in the 1990s: [A]lthough I’ve had one or two adventures and experiments with

in Tony Garnett
Social and cultural modernity beyond the nation-state

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

Open Access (free)
Crossing the margins

an archipelagic cultural studies should look like. That will be the task of individuals and groups from many backgrounds working over time in many different institutional and intellectual circumstances. There has been one development, however, which because of its ubiquitous nature may prove enduring, and which because of its influence upon all the essays gathered here is worth signalling. It is a development implicit in the new history that, we have suggested, provides the imprimatur for an archipelagic cultural criticism. What we are alluding to here is the

in Across the margins
Open Access (free)
An introduction

coincided with the emergence of the so-called ‘culture wars’ of the late 1980s and early 1990s, wherein anxieties concerning the erosion of the high culture/popular cultural divide gained considerable publicity and became an industry in their own right, though mostly, it has to be said, the preoccupation of media pundits rather than academics. A good deal of unhelpful caricature of critical positions took place as a result, although actually, the attendant irony was that while those in the press bemoaned the decline of traditional values, for its part ‘cultural criticism

in The new aestheticism