The rage of Caliban
Dorian Grayand the Gothic body
in Gothic Renaissance
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Andreas Höfele examines the ‘monstrous legacy of a Renaissance construe[d] as irrepressibly Gothic and ominously modern’ in a reading of Shakespeare’s The Tempest through Oscar Wilde’s late nineteenth century Gothic novel The Picture of Dorian Gray. Höfele takes Wilde’s reference to Caliban in the preface of the novel as a starting-point for a comparative investigation into the human/animal boundary within early modern and post-Darwinian discourses revealing ‘the grounds of the late nineteenth century Gothicization of the Renaissance’ in the striking affinities between unstable early modern boundaries and the ‘metamorphic’, ‘abhuman’ Gothic body of the fin de siècle (Hurley). Foregrounding a fascinating ‘swap of epistemic affiliations’, Höfele shows how ‘Dorian Gray roots himself in Renaissance Knowledge culture’, while ‘Caliban is adopted into the image store of popular science’ turning into the ‘Shakespearean icon of Darwinism’.

Gothic Renaissance

A reassessment


All Time Past Year Past 30 Days
Abstract Views 65 29 1
Full Text Views 28 8 3
PDF Downloads 8 4 2