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.
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.
for the problematic yet productive interaction between
culturalcriticism’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
that by Mark Edmundson (1994), in an article
on the problems of culturalcriticism 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
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 culturalcriticism. 18 Writing about
-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 culturalcriticism. There is a good reason for this emphasis. In the committee rooms where
witnesses were cross-examined and
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 culturalcriticism. 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
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
In its contributions to the study of material social differences, queer theoretical writing has mostly assumed that any ideas which embody 'difference' are valuable. More than this, where it is invoked in contemporary theory, queerness is often imagined as synonymous with difference itself. This book uncovers an alternative history in queer cultural representation. Through engagement with works from a range of queer literary genres from across the long twentieth century – fin-de-siècle aestheticism, feminist speculative fiction, lesbian middle-brow writing, and the tradition of the stud file – the book elucidates a number of formal and thematic attachments to ideas that have been denigrated in queer theory for their embodiment of sameness: uselessness, normativity, reproduction and reductionism. Exploring attachments to these ideas in queer culture is also the occasion for a broader theoretical intervention: Same Old suggests, counterintuitively, that the aversion they inspire may be of a piece with how homosexuality has been denigrated in the modern West as a misguided orientation towards sameness. Combining queer cultural and literary history, sensitive close readings and detailed genealogies of theoretical concepts, Same Old encourages a fundamental rethinking of some of the defining positions in queer thought.
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.