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David Annwn Jones

, tentacled abomination, frozen in mid-writhe, a single, unblinking, golden eye gazing out from its dark mass. 3.7 Postmodern Gothic sculptures and figurines The dismembered ‘Disaster’ polymer figures of Jake and Dinos Chapman’s installations, Damien Hirst’s statues and Alexander McQueen’s clothed manikins have each influenced each other in Gothic

in Gothic effigy
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David Annwn Jones

reverence for the foundations of British freedom. Designed with triangular floorplan and a façade involving three great arched windows with trefoils and doorways and a castellated Gothic tower of Northamptonshire ironstone, it is one of the most imposing Gothic follies of Britain. It is inscribed with the words: ‘Liberty of our Ancestors’. In the first stirrings of Gothic aesthetic taste, garden

in Gothic effigy
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Eighteenth-century Gothic poetics
Andrew Smith

(as a mode of knowledge) and writing (a new Gothic aesthetic), as it is the form that is centred on issues of representability and explores emotional extremes (and how to modify or contain them). The tensions between the extra-textually authentic and literary conceptions of creativity were explored in relation to Pfau’s idea of a compensatory aesthetic that attempts to overcome symbolic absence. The

in Gothic death 1740–1914
The medium and media of Fatal revenge
Christina Morin

Irish ‘pre-Gothic aesthetic’ arguably discernible in works as diverse as Temple’s Irish rebellion , Jonathan Swift’s A modest proposal ( 1729 ), and the elegiac Graveyard poetry of the 1740s. 58 These early stirrings of the Gothic imagination in Ireland evocatively reveal the ways in which the Gothic mode provided, as Killeen maintains, ‘the means by which late eighteenth-century Irish

in Charles Robert Maturin and the haunting of Irish Romantic fiction
The female ghost story
Andrew Smith

. Peg, the narrator of The Haunted River , makes a living as an artist. Her reflections on her art suggest abstract associations with the ghost story and a more general sense of an artist’s place within a wider market. She decides to paint an abandoned mill on the edge of what turns out to be a haunted river and applies a Gothic aesthetic as she wanders ‘about the ruined building, trying to decide from

in The ghost story, 1840–1920
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Female sexual agency and male victims
Jenny DiPlacidi

play’s offended parties. As the Gothic aesthetic insists (through its idealisation of Romance) these taboos are rationally rooted in a providential nature, supporting political and familial legitimacy’ (p. 119) while Clery finds the play resistant to its contemporaneous political hegemony. 29 Samuel

in Gothic incest
Rebecca Munford

were not good with women. That is why, although I thought they were wonderful, I had to give them up in the end. [...] I knew I wanted my fair share of the imagination, too. Not an excessive amount, mind; I wasn’t greedy. Just an equal share in the right to vision’ (‘AW’ 512). Shadow Dance and Love reveal how surrealism, as part of a broader European Gothic aesthetic, often envisages femininity

in Decadent Daughters and Monstrous Mothers