Neoliberal Gothic
International Gothic in the neoliberal age
by Linnie Blake, Agnieszka Soltysik Monnet, William Hughes
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Afghanistan, Aland Islands, Albania, Algeria, American Samoa, Andorra, Angola, Anguilla, Antarctica, Antigua and Barbuda, Argentina, Armenia, Aruba, Australia, Austria, Azerbaijan, Bahamas, Bahrain, Bangladesh, Barbados, Belarus, Belgium, Belize, Benin, Bermuda, Bhutan, Bolivia, Bosnia and Herzegovina, Botswana, Bouvet Island, Brazil, British Indian Ocean Territory, British Virgin Islands, Brunei, Bulgaria, Burkina Faso, Burundi, Cambodia, Cameroon, Canada, Cape Verde, Cayman Islands, Central African Republic, Chad, Chile, China, Christmas Island, Cocos [Keeling] Islands, Colombia, Comoros, Congo [DRC], Congo [Republic], Cook Islands, Costa Rica, Cote d'Ivoire, Croatia, Cuba, Cyprus, Czech Republic, Denmark, Djibouti, Dominica, Dominican Republic, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Falkland Islands [Islas Malvinas], Faroe Islands, Fiji, Finland, France, French Guiana, French Polynesia, French Southern Territories, Gabon, Gambia, Georgia, Germany, Ghana, Gibraltar, Greece, Greenland, Grenada, Guadeloupe, Guam, Guatemala, Guernsey, Guinea, Guinea-Bissau, Guyana, Haiti, Heard Island and McDonald Islands, Honduras, Hong Kong, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Isle of Man, Israel, Italy, Jamaica, Japan, Jersey, Jordan, Kazakhstan, Kenya, Kiribati, Kuwait, Kyrgyzstan, Laos, Latvia, Lebanon, Lesotho, Liberia, Libya, Liechtenstein, Lithuania, Luxembourg, Macau, Macedonia [FYROM], Madagascar, Malawi, Malaysia, Maldives, Mali, Malta, Marshall Islands, Martinique, Mauritania, Mauritius, Mayotte, Mexico, Micronesia, Moldova, Monaco, Mongolia, Montenegro, Montserrat, Morocco, Mozambique, Myanmar [Burma], Namibia, Nauru, Nepal, Netherlands, New Caledonia, New Zealand, Nicaragua, Niger, Nigeria, Niue, Norfolk Island, Northern Mariana Islands, North Korea, Norway, Oman, Pakistan, Palau, Palestinian Territories, Panama, Papua New Guinea, Paraguay, Peru, Philippines, Pitcairn Islands, Poland, Portugal, Puerto Rico, Qatar, Reunion, Romania, Russia, Rwanda, Saint Helena, Saint Kitts and Nevis, Saint Lucia, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, Samoa, San Marino, Sao Tome and Principe, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Solomon Islands, Somalia, South Africa, South Georgia and the South Sandwich Islands, South Korea, Spain, Sri Lanka, Sudan, Suriname, Svalbard and Jan Mayen, Swaziland, Sweden, Switzerland, Syria, Taiwan, Tajikistan, Tanzania, Thailand, Timor-Leste, Togo, Tokelau, Tonga, Trinidad and Tobago, Tunisia, Turkey, Turkmenistan, Turks and Caicos Islands, Tuvalu, U.S. Minor Outlying Islands, U.S. Virgin Islands, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Uzbekistan, Vanuatu, Vatican City, Venezuela, Vietnam, Wallis and Futuna, Western Sahara, Yemen, Zambia, Zimbabwe, Bonaire, Sint Eustatius, Saba, Curaçao, Saint Barthélemy, Saint Martin, French part, Sint Maarten (Dutch Part), South Sudan
Endorsements
The explosion of interest in the gothic in recent years has coincided with a number of seismic political changes that have reshaped the world as we know it: the fall of the communist bloc, the revolution in information and communication technologies, the emergence of biotechnologies, the proliferation of transnational corporations and, since 2001, the US-led 'War on Terror'. Each is itself underscored by the rise to global predominance of economic Neoliberalism. Neoliberal Gothic considers the ways in which this increased cultural visibility of the gothic attests to the mode's engagement with the most significant dynamics of our age. Through analysis of texts drawn from literature, film, television, theatre and the visual arts (ranging from Europe to South East Asia, Africa to North and South America) the collection examines the ways in which gothic texts have both represented and interrogated the global changes wrought by Neoliberal economics since the 1980s. In turn, the impact of such changes on the form and cultural function of the gothic itself is fully explored. In a period characterised by ecological devastation, economically driven warfare, financial collapse, and capitalism's designation of large swathes of the global population as being barely alive at all, this collection makes a timely, if self-reflexively political, contribution to the field of Gothic Studies. Neoliberal Gothic will be of interest not only to students of the gothic, or academics working in this field, but to anyone with an interest in the present moment, its politics, economics and cultural manifestations - in film, literature and on the television screen.
Reviews
The explosion of interest in the gothic in recent years has coincided with a number of seismic political changes that have reshaped the world as we know it: the fall of the communist bloc, the revolution in information and communication technologies, the emergence of biotechnologies, the proliferation of transnational corporations and, since 2001, the US-led 'War on Terror'. Each is itself underscored by the rise to global predominance of economic Neoliberalism. Neoliberal Gothic considers the ways in which this increased cultural visibility of the gothic attests to the mode's engagement with the most significant dynamics of our age. Through analysis of texts drawn from literature, film, television, theatre and the visual arts (ranging from Europe to South East Asia, Africa to North and South America) the collection examines the ways in which gothic texts have both represented and interrogated the global changes wrought by Neoliberal economics since the 1980s. In turn, the impact of such changes on the form and cultural function of the gothic itself is fully explored. In a period characterised by ecological devastation, economically driven warfare, financial collapse, and capitalism's designation of large swathes of the global population as being barely alive at all, this collection makes a timely, if self-reflexively political, contribution to the field of Gothic Studies. Neoliberal Gothic will be of interest not only to students of the gothic, or academics working in this field, but to anyone with an interest in the present moment, its politics, economics and cultural manifestations - in film, literature and on the television screen.
Author Biography
Linnie Blake is Senior Lecturer in Film in Manchester Metropolitan University's Department of English; ; William Hughes is Professor of Gothic Studies at Bath Spa University
Manchester University Press
Manchester University Press is a leading UK publisher known for excellent research in the humanities and social sciences.
View all titlesBibliographic Information
- Publisher Manchester University Press
- Publication Date July 2017
- ISBN/Identifier 9781526113467 / 1526113465
- Publication Country or regionUnited Kingdom
- ReadershipGeneral/trade; College/higher education; Professional and scholarly
- Publish StatusPublished
- SeriesInternational Gothic Series
- Reference Code7559
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