Concerns of linguistic, cultural and military incursion from France emerge more frequently in the wake of the Seven Years’ War. In the literary arena, one of the ways in which these concerns are marked is through the highly-contested national stakes of chivalry. This essay argues that these national stakes of chivalry are negotiated in the realm of the Gothic romance in a particularly fluid and dynamic manner. Addressing recent critical assumptions about the conservatism inherent in prose treatments of medieval chivalry, the essay explores the possibility that Gothic romance recuperates a more positive version of chivalry in the wake of the famous Burke/Wollstonecraft revolutionary debate of 1790.
This essay argues that Stephen King‘s 2006 novel Cell explores the age of terror with the aid of two concurrent Gothic discourses. The first such discourse belongs to the tradition that Patrick Brantlinger has termed Imperial Gothic. As such, it imagines with the War on Terror that the threat that the (Gothic) Other constitutes is most usefully managed with the help of massive, military violence. The other, and more traditional, Gothic discourse radically imagines such violence as instead a War of Terror. The essay then argues that Cell does not attempt to reconcile these opposed positions to terror. Instead, the novel employs the two Gothic discourses to describe the epistemological rift that terror inevitably creates.
multidisciplinary meeting point where academics working across literary studies, history, art history, archaeology, Egyptology and beyond investigate how this ancient civilisation has been interpreted after the fact. The nineteenth century is a time of particular importance to such scholarship, largely as a result of French and British imperial involvement in Egypt across this period and subsequently.
While ancient Egypt had been a source of fascination for Western culture since antiquity, European military presence in Egypt had
public attention, H. Rider Haggard acquired a mummy snatched by his brother Andrew (a lieutenant colonel in the Egyptian army) from the pits of Akhmim in Egypt. Andrew reported in his military memoir Under Crescent and Star ( 1895 ) that the mummy was ‘popularly supposed to be that of Potiphar's wife’.
Named Nesmin, the mummy occupied the study in which Haggard penned his 1887 novel She . Elaborating in 1895 on a story that eventually became a sort of family legend, Haggard's brother playfully writes: ‘Potiphar
Egyptian is most often considered a sensational romance: a work of ‘Egyptian Gothic’.
The narrative, like many of the fin-de-siècle texts held to fall into this bracket, is centred around an act of reverse colonisation, a response to the ‘turbulent time’ in ‘Anglo-Egyptian history’ subsequent to the British military occupation of Egypt in 1882 in which this text was conceived.
Critical work on Boothby's novel, which has only recently drawn the attention of literary
only upon her obelisks at Karnak, but upon the walls of her temple at Dayr-el-Bahari, consists in the employment of masculine titles with feminine pronouns. As hereditary sovereign of Egypt, she was Pharaoh and King, head alike of the sacerdotal and military castes. Hence, in one and the same sentence, she appears as Hon-f (His Majesty), while the suffixes used in the grammatical construction are feminine.
Forbidden Planet, Frankenstein, and the atomic age
Dennis R. Perry
Franklin D. Roosevelt that building the atomic bomb was possible, later condemned the use of the bomb against Japan, and was sympathetic toward the Atomic Scientists movement (Clark 752). Having helped determine the outcome of World War II, the scientists involved in the movement had become important players on the world stage and changed the course of international politics. At the same time, more practical military and government officials pushed back against the idea that civilian scientists should regulate nuclear research. They recognised that less reasonable
Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison
-state divided between Scottish and British identity.
Importantly, Frank’s repression of his ‘maternal’ side also results in his lack of a balanced personality and transformation into an aggressive, militaristic machine. His hippie father, ironically, produces a warmonger. As Banks has explained in various interviews, The Wasp Factory is an attack on the British male military establishment (McVeigh 3): since the Act of Union, and particularly since the defeat of the Jacobites in the mid-eighteenth century, Scotland has experienced a political
everyone in his world, and can therefore be considered an act of genocide, just as the Holocaust was.
The ultimate architect of the Final Solution, Adolf Hitler, had his own associations with the wolf. The name of the Nazis’ military HQ on the Eastern Front was the Wolfsschanze , or Wolf's Lair. Peter Arnds has argued in strong Freudian fashion that Hitler identified deeply with the animal – the name Adolf derives from the Germanic Adalwolf , meaning ‘noble wolf’ – and even that he was familiar with Disney's cartoon and was heard to whistle ‘Who
The Frankenstein Complex: when the text is more than a text
Dennis R. Cutchins and Dennis R. Perry
’s attempt to wrest control of the bomb from the military as a reflection of the Frankenstein power motifs in the film. Kyle Bishop ( Chapter 6 ), on the other hand, examines television, an under-explored medium of Frankenstein adaptations. TV adaptations of Frankenstein , he argues, tend to be more fragmented and tangential than full-length films, often appearing as special episodes in series like Buffy the Vampire Slayer and X-Files. Unsurprisingly, Victor and his monster seem quite at home within the fragmented structure of television. Morgan C. O’Brien ( Chapter 5