Through an analysis of Dracula, this article will explore some of the hyperbolic rhetoric surrounding drug use and womens place in medical discourse that has, like the Count himself, risen again and again in our culture. It argues that Dracula attempts – through popular metaphors of addiction, shifting terminologies about drug use, and British anxieties about immigration – to make a clear but highly unstable distinction between licit and illicit drug use. In the process, Stoker‘s novel illuminates a complex relationship between middle-class women and the opiates that paradoxically serve as a site of patriarchal oppression and resistance to it.
Professional Integrity in Peril at the Fin de Siècle
This essay positions the drug-using doctor at the intersection between traditional Gothic horror and a new fin-de-siècle medical realism, embedding the cultural anxieties at the fin de siècle in relation to the ethical and theological boundaries of scientific knowledge. The objective is to provide a framework for reading and interpreting the medico-gothic narrative of addiction. The essay examines the writings of three pioneering physician-scientists: one historical – Sigmund Freud – and two fictional – Dr Jekyll, in Robert Louis Stevenson‘s Strange Case of DrJekyll and Mr Hyde (1886), and Dr Seward in Bram Stoker‘s Dracula (1897).
properly attired. Headscarf etiquette would have been handy knowledge to have in
the security training. But I did learn how to operate a radio! 32
Another concurred, noting that cultural norms around alcohol and recreational druguse would make more useful learning than handling weapons or radios. 33 Diverse aid workers’
experiences and perceptions of risk, however, would seem to have little place in
designing and delivering security guidance
anxiety among policy-makers
and the media alike. Injecting druguse before and during incarceration,
sex between men in prison, violence among inmates and towards staff,
overcrowding and bad hygiene, and the poor general health of many of
those behind bars were all highlighted as factors potentially
contributing to the rapid spread of disease. 2 This, coupled with concern about the
provision of adequate
attention because of the
country’s distinctive epidemiological and cultural profile. The
predominance of intravenous druguse, in both epidemiological terms and
in popular discourse about the epidemic, means that careful attention to
Italy offers a different perspective from the better-known histories of
HIV/AIDS in countries like the United States of America (USA) and the
United Kingdom (UK), and their
This peculiar return to childhood, like Charles Darke’s in McEwan’s
The Child in Time, is evidence of a mind becoming unhinged and
playing with the idea of being ‘re-parented’. In his introduction to M.
Ageyev’s Novel with Cocaine (1999, novel first published in Russian
1983), Self ’s comments on the link between childhood perspectives
on time and the changes in perspective caused by druguse echo
McEwan’s evocation of childhood:
The drug addict craves, above all else, a release from time, an arrest
of entropy. To be high is to experience the atemporal abandon
the issue of druguse from the prohibitionist perspective and locate the sources of domestic [drug] problems beyond the boundaries of American society […] the emergence of a universal norm dictating national responses to illicit druguse could emerge only given the influence possessed by a superpower [the United States].
Not all countries were at first enthusiastic about global drug regulation
; while his products are elite, as a character in popular fiction with an ancient Egyptian element, Pharos is caught between exclusivity and mass appeal. Negotiating, on the one hand, decadent circles and the associated culture of recreational druguse at the fin de siècle ,
and on the other, advertising for mass-market products drawing upon ancient Egypt's increasing attraction, this chapter identifies how Boothby uses cigarettes and perfume in Pharos the Egyptian to suggest the dissolving of the boundaries
The cultural competition between Madrid and Barcelona often appears to be in perpetual extra time, one side grabbing the advantage only for the other to equalise and subsequently take the lead. This chapter shows how and why Madrid, the dictatorial city par excellence, was able to reinvent itself during the Transition through the drug-fuelled youth movement known as the Movida. The purported apoliticism of La Movida is critically interrogated, as is the extent to which progressive politicians such as City Mayor Enrique Tierno Galván and President Felipe González can be held responsible for rising levels of crime, unemployment and drug use.
planet. In actual fact, since the outset of the War on Drugs, there has
been both a proliferation of druguse across the whole world and an enormous
growth in the numbers of consumers. Former Eastern Bloc nations where druguse was previously virtually unknown now have huge burgeoning drug markets
fuelled by the breakdown of borders, the growth in trade and ultimately by mass
populations with a desire to seek out new forms of oblivion.
Wars of metaphor are an important element in modern political culture and
the War on Drugs and the War on Terror are the latest in a