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A sourcebook 1700–1820
Editors: E.J. Clery and Robert Miles

The aim of this book is to make available a body of texts connected with the cultural phenomenon known as Gothic writing. The book includes many of the critical writings and reviews which helped to constitute Gothic as a distinct genre, by revisions of the standards of taste, by critique and by outright attack. Together, this material represents a substantial part of the discursive hinterland of Gothic. The chapters on supernaturalism, on the aesthetics of Gothic, and on opposition to Gothic contain a number of the standard references in any history of the genre. They are juxtaposed with other more novel items of journalism, religious propaganda, folk tradition, non-fictional narrative, poetry and so on. The book also includes chapters on the politics of Gothic, before and after the French Revolution. Therefore, it includes extracts from Tacitus and Montesquieu, the authorities that eighteenth-century commentators most often referred to. The story of Britain's Gothic origins, although implicitly progressivist, was to be re-fashioned in the cultural and sociological theories critical of modern society: that vital eighteenth-century trend known as primitivism. The book also broadly covers the period from the height of the Gothic vogue (in the mid-1790s) to the mid-nineteenth century. The author hopes that the book will encourage students to follow new routes, make new connections, and enable them to read set works on the syllabus in more adventurous and historically informed ways.

Trish Winter and Simon Keegan-Phipps

regions of England. It produces a picture of England as composed of distinctive places, each with its unique cultural traditions. So unique, in fact, that they can appear arcane and unfathomable to outsiders, even outsiders versed in other folk traditions of England. Within this programme, the ties between dance tradition and place are repeatedly emphasised. ‘It [traditional dance] gives you a real connection to where you live,’ says one of the presenters in the opening to the programme. The tie between dance and place is usually asserted as forged over time, through

in Performing Englishness
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The struggle for post-modern authenticity
Ivan Gololobov

comments, ‘isn’t “pure” or “authentic” enough’96 but may be regarded by Jello Biafra as ‘punk rock as it should sound like’.97 Conclusion The inauthenticity of the immigrant punk to the available styles and genres of popular music and its impurity in relation to particular folk traditions translates the dislocation of the immigrant subject. Laclau and Mouffe understand dislocation as a disruption of the symbolic organisation invoked by the real events which cannot or can be hardly symbolised within a given discursive order.98 Being devoid of its symbolic recognition

in Fight back
Elisabeth Bronfen and Beate Neumeier

Andrea Brady analyses the complex implications of the return of supernatural phenomena in mid-seventeenth century pamphlet accounts of ghostly hauntings (about ‘real sightings as well as rhetorical ghosts in political satire’) against a growing ‘widespread scepticism’. She traces this return not only to the persistence of folk tradition but also to a conscious attempt by the Cambridge Platonists Henry More and Joseph Glanville to restore a ‘consensus which was eroding – in divine retribution, in immortal soul, in providence of history, in vision as access to truth’. The defence of ghostly apparitions is identified by Brady as a ‘conservative’ project to ward off ‘the threat [they believed] scepticism posed to church and state’.

in Gothic Renaissance

Supernatural beliefs have been vital to Scottish cultural development. In the early modern period, the Kirk played an all-important role in parish life, schooling the Scots on how to interpret the invisible world. Theologians and philosophers mused about the nature of God’s providence and the wiles of the Devil. Folk tradition peopled the landscape with fairies and nature spirits. The witch trials displayed the very real consequences of belief systems that would later be reframed as fantastical.

This book analyses the Scottish supernatural between about 1500 and 1800. Drawing together an international range of scholars with expertise in history, ethnology and literary studies, it explores the diverse ways in which Scots understood and experienced magical beings and extraordinary events. There are chapters on trance experiences, spirit-guides, angels, preaching on the supernatural, political prophecies, providence, astrology, Second Sight and the Enlightenment’s encounter with the paganism of classical antiquity. The book’s historical material is framed by two literary chapters: one on the ‘elrich’ supernatural in the poetry of the early sixteenth century, and one on the political supernatural in the poetry of the eighteenth century.

Overall, the book examines the cultural function of supernatural beliefs, and assesses how these beliefs evolved amid the upheaval of the Reformation, political and religious revolution, the emergence of the Enlightenment and the beginnings of romanticism.

Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

Rethinking verbatim dramaturgies

Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.

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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

A study in perjury
Owen Dudley Edwards

laws and Irish folk tradition’ opened up the most intransigent aspect of the matter. His essay, now a half-century old, began on a thesis now more important for his holding of it than for its accuracy. He was a great folklorist holding fruits of vast research acquired under Irish Folklore Commission auspices. Of the penal laws he wrote: Even yet … their influence is clearly observable in many of our institutions. In the past they bore down upon every Catholic, be he peer, priest, peasant or pauper, and darkened every aspect of his life, be it social, economic or

in Irish Catholic identities
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E.J. Clery and Robert Miles

here they will be juxtaposed with other more novel items of journalism, religious propaganda, folk tradition, non-fictional narrative, poetry and so on – writings not usually viewed in connection with a mode regarded, for the most part, as consisting of prose fiction alone. There are perhaps two points to make here. In the first place, we want to emphasise the permeable nature of Gothic, and indeed of any literary category

in Gothic documents