Uncanny doubles: part one
in A familiar compound ghost
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 manchesterhive@manchester.ac.uk for pricing options.


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

Redeem token

This chapter, which emphasises the importance of the interplay between an uncanny phenomenon in the text and an uncanny affect in the reader, holds that the uncanny is both a ‘foreign body’ and something on the page in front of the reader. It describes nineteenth-century doubles who remind people of their textual predecessors as well as of their own doubled selves. The chapter looks at uncannily Gothic doubles of the earlier decades (James Hogg and Edgar Allan Poe), through the novels of the mid-Victorian period, in which doubles are more usually deployed to drive a sensational plot (Wilkie Collins and Mary Elizabeth Braddon), and at a second, more self-conscious Gothic flowering in the novels of thefin de siècle (Robert Louis Stevenson and Oscar Wilde). It concludes that the tendency to invoke earlier examples of the Doppelgänger tradition becomes increasingly pronounced.

A familiar compound ghost

Allusion and the uncanny


All Time Past Year Past 30 Days
Abstract Views 187 33 1
Full Text Views 77 13 0
PDF Downloads 36 14 0