Imperial Gothic 2.0: Brexit, Brex-Lit, and everyday Euroscepticism in British popular culture

ABSTRACT

In recent years, scholarship on postfunctionalism in European integration has drawn attention to how processes of Europeanisation are not restricted to policymakers, but exist equally (if not more significantly) in the quotidian. The 2016–2020 Brexit process and debates on the relationship between national identity and ‘Europeanness’ urge a new consideration of how Europeanisation is narrated in everyday discourses. This paper analyses British fictional portrayals of the EEC and EU and posits a new theoretical framework of ‘Imperial Gothic 2.0’. Pre-2016 representations of the EU were entirely dystopian. But post-2016, Brex-Lit fiction has reversed this trend and the EU now appears as a flawless utopia. Early twentieth-century ‘Imperial Gothic’ saw popular fiction defined by themes of British decline and oppression by foreign powers; a century later, Brex-Lit has resurrected these themes by narrating Britain in terminal decline, reflecting cultural anxieties, a reversal of Self and Other, and a loss of identities. This ‘Imperial Gothic 2.0’ reveals anxieties which reflect and influence political action, and reveals the extent to which imaginations and narratives of the EU have transformed from depictions of a distant, technocratic entity used for comedy or conspiracy, into a site of intense emotional affiliation, nostalgia, anticipation, and regret.

KEYWORDS:

• Europeanisation
• narrative politics
• emotion
• brexit
• European union
• dystopia
• discourse

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1. During the UK’s membership of the EU, the European Commission’s UK Representation maintained an entire webpage debunking British tabloid Euromyths: https://wayback.archive-it.org/11,980/20,191,004,103,218/https://blogs.ec.europa.eu/ECintheUK/euromyths-a-z-index/