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International Gothic in the Neoliberal Age

Over the course of the past twenty-five years, as neoliberal economics has transformed the geopolitical landscape, monsters have overrun popular culture. This book explores literary, televisual, filmic and dramatic works from distant and diverse countries. It traces the vampire's evolution from the nineteenth-century past of industrial capitalism to the neoliberal present's accelerated violence and corrupt precarity, and discusses the NBC television mini-series Dracula, perfectly encapsulating our own post-recessionary subjectivity. The book addresses state capitalism but turns readers' attention away from the vampire and towards the ghost, focusing on the ways in which such spectral figures have come to dominate new German theatre. On the biotechnology sector, the book presents three examples: cinematic depictions of the international organ trade in Asia, the BAFTA award winning three-part series In the Flesh broadcast in BBC3, and literary representations of the dehumanised South African poor. The book moves from the global to the local, and charts the ways in which post-2006 house owners are trapped in the house by the current economic situation, becoming akin to its long-term resident ghosts. The ghost estates, reanimated and reimagined by the Irish artists and film-makers, are shown to embody the price paid locally for failures in global economic policy. The preoccupation with states of liminality is encapsulated by showing that the borders of the nation state have become a permeable membrane. Through this membrane, the toxic waste of first world technology seeps out alongside the murderous economic imperatives of the neoliberal agenda.

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Neoliberal gothic

estates are shown to embody the price paid locally for failures in global economic policy, the domestic sphere having become an anxious and unstable space, and its inhabitants mere ghosts of a future that never came to pass. Part IV. Crossing borders As the seductive yet deadly figure of the undead-yet-living vampire attests, the gothic has long walked the line between modes of

in Neoliberal Gothic
The nature of the development-security industry

economic policy and forms the foundation of economic reforms imposed on developing and conflict-affected states by institutions such as the World Bank and International Monetary Fund. Beginning in the late 1970s, this ideological discourse was operationalised by the above institutions in what came to be known as the Washington Consensus. Based on neo-liberal principles, policies of fiscal discipline, liberalisation, deregulation and privatisation were prescribed to developing and developed nations alike (Krogstad, 2007). The failure of this consensus to substantively

in Building a peace economy?