This article explores the trend in contemporary vampire media to highlight racially-charged issues, demonstrating a consciousness of the way the vampire has been used in conjunction with racial stigmatisation. While the traditional figure of the vampire spoke strongly to late nineteenth-,and early twentieth-century white American fears of miscegenation, I argue that some contemporary vampire narratives, such as Blade (1998), Underworld (2003), and True Blood (2008-), rewrite the figure in order to question and/or undo,the link between ‘monstrosity’ and racial otherness. Central to this task is not only the repositioning and characterisation of the vampire, but also — considering that the female body was once perceived as the locus for racial purity — that of the heroine.
Metaphorically set in a border town, the darkly lit, libidinous urban topography of
Orson Welles’ classic late film noir, Touch of Evil (1958), harbours primal fears and
partially clads criminal activities, underscoring the fact that in the 1950s
miscegenation was still illegal in a number of US states. This article juxtaposes
Charlton Heston‘s leading role in two interracial romances, Touch of Evil and Diamond
Head (1963), which takes place in the new border state of Hawaii. The historical
foregrounding of the Civil Rights movement in the United States during the 1950s and
‘60s with respect to the interracial romances growing popularity is discussed, and
the relevance of recent genetic research into the appeal of difference and the way it
functions within a ‘primal drama’.
This book looks at the highly publicised, sensational trials of several young female protagonists in the period 1918-1924. These cases, all presented by the press as morality tales involving drugs, murder, adultery, miscegenation and sexual perversion, are used as a prism through which to identify concerns about modern femininity. The book first examines a libel case, brought by a well-known female dancer against a maverick right-wing MP for the accusation of lesbianism. One aspect of this libel trial involved the drawing up of battle-lines in relation to the construction of a new, post-war womanhood. The book then looks at two inquests and three magistrate-court trials that involved women and drugs; young women in relationships with Chinese men were also effectively in the dock. One way of accessing court proceedings has been via the account of the trial published as part of the Notable British Trial Series. There are no extant trial transcripts. But there are prosecution depositions lodged at the National Archives, much press reportage, and a number of relevant memoirs, all giving a keen sense of the key issues raised by the trial. The book also focuses on an extraordinary divorce case, that of Christabel Russell, involving cross-dressing, claims of a virgin birth, extreme sexual ignorance, and a particular brand of eccentric modern femininity.
Gothic, in a sense, has always been 'queer'. This book illustrates the rich critical complexity which is involved in reading texts through queer theories. It provides a queer reading of such early Gothic romances as William Beckford's Vathek, Matthew Gregory Lewis's The Monk, and Charles Maturin's Melmoth the Wanderer. Building upon critical trend of desire between men, the book examines Frankenstein's engagement with sexual rhetoric in the early nineteenth century. It explores some ways in which the signifying practices of queerness are written into the language and, therefore, the signifying practices of Gothic fiction. Teleny's apparently medicalised representation of homosexual erotic love contains some strikingly Gothic elements. The book examines how the courtroom drama of the E. M. Forster's A Passage to India focuses on the monstrous possibility of miscegenation, an Indian accused of raping an Englishwoman. Antonia White's Frost in May can be contextualised to the concept of the 'lesbian Gothic', which helpfully illuminates the representation of adolescent female subjectivity and sexuality. Same-sex desire is represented indirectly through sensuous descriptions of the female body and intertextual allusions to other erotic texts. The book considers how the vampire has become an ambivalent emblem of gay sexuality in late twentieth-century Gothic fiction by examining Interview with the Vampire and Lost Souls. The understanding of the Gothic and queer theory in a pop video is achieved by considering how Michael Jackson's use of the Gothic in Thriller and Ghosts queers the temporality of childhood.
household and reproductive roles within Muslim society. This was
traditional education mobilised in opposition to the values that
French educators hoped to transmit. 79
No discussion of gender issues
in the French empire can overlook the so-called
‘métis problem’ of miscegenation.
assess quantitatively the scale of Scottish involvement in
miscegenation, it is less difficult to determine the ways in which Scots
reacted to fathering illegitimate mixed-race children.
The term ‘West Indies’
implies a coherence and uniformity among a number of British-owned
islands located in the Caribbean Sea. The islands were geographically
scattered, however, and
monstrosity of Victor’s inchoate monster’s mate. Anxiety
over miscegenation is one of the reasons why Victor Frankenstein decided
to destroy her, fearing that she might procreate with man rather than
with her fellow monster. Her subsequent fragmentation resonates with
that of the famous Hottentot Venus, who was regarded by many as a female
monster and whose body parts were exhibited after her death. Public
Orientalism, miscegenation fears and female fantasy
Mme Fahmy’s vindication: Orientalism,
miscegenation fears and female fantasy
he autobiography of Mrs Kate Meyrick, 1920s Soho nightclub owner,
is peppered with references to club visits from famous names – entertainers, actresses, artists, writers. Royalty too make an appearance – the Crown Prince of Sweden, Prince Nicholas of Romania, and ‘one
princely signature in the visitors’ book … associated with a grim tragedy
… that of Fahmy Bey’.1 The ‘grim tragedy’ to which she referred was his
untimely death, for in the early hours of 10th July 1923, in the
The work of law and medicine in the creation of the colonial asylum
The issue of miscegenation had already begun to raise fears in
Victoria. A report in Age in 1869 about Chinese migration
suggested that Chinese men should not ‘form connections’
with European women. 70 The ‘half-caste’ female
caused special anxiety for the writer of this piece. Certainly, in
the asylum case-books women described in this way were often
designated as most
Wilkie Collins’s Armadale is compared with his short story ‘Mad Monkton’, both of which speculate about negative hereditary transmission. Whereas ‘Mad Monkton’ portrays the consequences of hereditary insanity as devastating and inescapable, Armadale engages with a broader range of hereditary threats, but does not depict them as insurmountable. I attribute this change to both Collins’s choice of genre and his growing sense of responsibility as a widely read author. As a sensation author Collins had an eye for the alarming, and in Armadale his imaginative speculations foreshadow the paranoia of developing degenerationist thought which expressed concern with numerous issues, including the hereditary nature of criminality and insanity, atavism, regression, miscegenation, and acquired characteristics which could develop into morbid traits in the next generation. By associating different types of degeneration with different characters, and by offering different reasons for the development of that degeneration, Collins raises questions about class and race. However, Collins crucially opposes the view that morality is irrevocably hereditary at the same time as he invokes the fearful consequences of if it were. Moreover, Collins attempts to create sympathy with, rather than to reject or isolate, social outsiders.