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Queering Virginity

From Unruly Girls to Effeminate Boys

Eftihia Mihelakis

of popular culture, especially those of the gothic or supernatural genres” (98). In their reading, the authors address the United States’s fetishization of young female sexual purity, and make the case that Jessica Jamby’s perpetual virginity

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Alex Link

community of readers’, 37 itself an ‘appropriation of earlier press strategies, sensationalist stories, and the Gothic tradition’. 38 The Ripper is a ‘collage-creature’ persisting in what Moore calls ‘Idea Space’. He is a cultural category, and not some

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Pippa Marland and Anna Stenning

-God: Gothic Ecology in Algernon Blackwood’s Pan’s Garden: A Volume of Nature Stories ’ (1912), the modernist Gothic imagination is seen as anticipating the tropes of ‘chaos ecology’ and modern understandings of a shifting natural world and ‘disturbed’ nature

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Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward

elsewhere in English), as well as an introduction by the editors presented in both French and English. ‘L’Œuvre’ features chapters on Dave McKean, the Gothic in comics, the Polish comic Osiedle Swoboda [The Swoboda District] and the changing identities of

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Angel in the House, Devil in the City

Explorations of Gender in Dracula and Penny Dreadful

Lauren Rocha

Judith Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters (Duke, NC: Duke University Press, 1995), 2. 2 Bram Stoker, Dracula , ed. John Paul Riquelme (New York: Bedford/St. Martin’s, 2002), 218. 3 Ibid., 222. 4 Ibid., 223. 5 Ibid

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Reinhart Koselleck, Translated By Margrit Pernau, and Sébastien Tremblay

caricatures of Hitler and his fellow party comrades and written a slogan on the wall in Gothic print, as the GPU had ordered: “We had set forth as war criminals, we return as heroes of the reparation.” I felt ashamed of this phrase, as I couldn't manage to

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Ronald de Rooy

’s Inferno: An Animated Epic , dir. Victor Cook and Mike Disa, 2010. On the graphic novel by Christos Gage and Diego Latorre, Dante’s Inferno (La Jolla, CA: Wildstorm Productions, 2010) as a hybrid between fantasy and gothic, see Nicola Paladin, ‘Effetti

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Editorial

‘But No One Died’: A Brief Reflection on Place and Time

Edited by Christine McCourt

and selfies below the imposing gothic towers of the university. No one died. I shouldn’t be so sad, but looking up Renfrew Street at the fire engine still showering the building on a rainy Glasgow morning, I can’t tell whether what is rising is spray

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Nick Nguyen, Philippe Kaenel, Michael Kelly, Charles Forsdick, Rikke Platz Cortsen, Sylvain Rheault, Hugo Frey, and Mark Nixon

of the book is dedicated to ‘Space and Comics Theory’. This theoretical section opens with Julia Round’s analysis of three well-known comics, From Hell, The Invisibles and The Walking Dead , in which she uses Gothic theory to analyse how landscape

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Mirko M. Hall

that key characteristics of the gothic and dark wave scenes—such as the sense of “individual pessimism and collective melancholy” and the accompanying ideals of “death, decay, loyalty, love, purity, and simplicity”—can easily be channeled through an