Folk Gothic begins with the assertion that a significant part of what has been categorised as folk horror is more accurately and usefully labelled as Folk Gothic. Through the modifier 'folk', Folk Gothic obviously shares with folk horror its deployment (and frequent fabrication) of diegetic folklore. Folk Gothic does not share, however, folk horror's incarnate monsters, its forward impetus across spatial and ontological boundaries and the shock and repulsion elicited through its bodily violence. The author argues that the Folk Gothic as a literary, televisual and cinematic formation is defined by particular temporal and spatial structures that serve to forge distinctly nonhuman stories. In emphasising these temporal and spatial structures – not literal 'folk' and 'monsters' – the Folk Gothic tells stories that foreground land and 'things', consequently loosening the grip of anthropocentrism.
This final volume in the Public Women, Public Words series focuses on what has come to be called the second wave of American feminism. It traces the resurgence of feminism in the late 1960s, reflects the unprecedented range of women's issues taken up by feminists during the 1970s and beyond, and looks toward a third feminist wave for the new millennium.
This volume focuses on what has come to be called the second wave of U.S. feminism. It charts the various strands of the resurgence of feminism in the late 1960s -- from the liberal feminism of Betty Friedan and the National Organization for Women to the anarchist and lesbian identity dimensions of radical feminism. Black-feminist resistance to the white-dominated second wave is looked at closely, as is the unprecedented range of practical women's issues taken up by feminists during the 1970s and beyond: for instance, sexual autonomy, equality in marriage and parenting, child care, welfare, abortion, the Equal Rights Amendment, and the integration of women into higher education. The great diffusion of feminism in the past twenty five years is charted here with separate sections on multicultural feminism and the feminist presence in television, Hollywood, and other areas of popular culture. Finally, the prospects for a third feminist wave are considered in essays from feminist intellectuals writing in the 1990s.
Folk Gothic begins with the assertion that a significant part of what has been categorised as folk horror is more accurately and usefully labelled as Folk Gothic. Through the modifier 'folk', Folk Gothic obviously shares with folk horror its deployment (and frequent fabrication) of diegetic folklore. Folk Gothic does not share, however, folk horror's incarnate monsters, its forward impetus across spatial and ontological boundaries and the shock and repulsion elicited through its bodily violence. The author argues that the Folk Gothic as a literary, televisual and cinematic formation is defined by particular temporal and spatial structures that serve to forge distinctly nonhuman stories. In emphasising these temporal and spatial structures – not literal 'folk' and 'monsters' – the Folk Gothic tells stories that foreground land and 'things', consequently loosening the grip of anthropocentrism.
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