Uncanny doubles: part two
in A familiar compound ghost
Abstract only
Get Access to 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. 

Access Tokens

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

Redeem token

This chapter charts the progress of the Doppelgänger in later twentieth- and twenty-first-century fiction. As the genre established itself more securely, the possibilities for complex allusive doubling and redoubling became greater. Some recent writers, such as Sarah Waters and Will Self, find Doppelgängers in their Victorian predecessors. Others, such as Bret Easton Ellis, respond to the doubles created by their near contemporaries, while Christopher Priest's characters, like those of Daphne du Maurier, seem to be the uncanny doubles of his own earlier creations. The chapter furthermore argues that the clone may also come into play as a science-fictional subtype of the double as uncanny allusion marker when many earlier texts are being referenced.

A familiar compound ghost

Allusion and the uncanny

INFORMATION
TABLE OF CONTENTS
METRICS

Metrics

All Time Past Year Past 30 Days
Abstract Views 115 52 0
Full Text Views 64 40 0
PDF Downloads 26 12 0
RELATED CONTENT