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Neil Hultgren

8 •• Automata, plot machinery and the imperial Gothic in Richard Marsh’s The Goddess Neil Hultgren The title of Richard Marsh’s 1900 novel The Goddess: A Demon confronts readers with a juxtaposition of two very different nouns balanced by a colon: one designating a potentially beneficent female deity and another a harmful supernatural entity. Yet the title’s shift from a definite to an indefinite article implies that the goddess in question is, in fact, an example of a larger category, that of the demonic. The potential goodness of the title seeps away as

in Richard Marsh, popular fiction and literary culture, 1890–1915
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The supernatural and the textual
Janet Hadley Williams

Literature in Older Scots includes a group of poems, mostly anonymous, that employs supernatural phenomena for burlesque or satiric purposes. Aptly called ‘elrich fantasyis’, 1 they include Roule’s ‘Devyne poware of michtis maist’, The Gyre Carling , ‘My gudame wes a gay wyf’, ‘God and Sanct Petir’, ‘The Crying of ane Playe’, Lichtoun’s ‘Quha doutis dremis is bot phantasye?’ and Lord Fergus Gaist . 2 In their ‘comic supernaturalism’ 3 and inventive mixed reference to popular traditions, romances, classical literature, magic, witchcraft and church ritual

in The supernatural in early modern Scotland
Domhnall Uilleam Stiùbhart

This chapter examines and reassesses some accounts from early modern Scotland referring to a constellation of diverse supernatural abilities, primarily relating to premonition and clairvoyance, often described in English as Second Sight, and in Scottish Gaelic as an dà shealladh or taibhsearachd . It is indebted to the scholarship of numerous historians of early modern thought, religion and popular belief, in particular the work of Michael Hunter, whose annotated sourcebook The Occult Laboratory offers an essential and accessible introduction to the

in The supernatural in early modern Scotland
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The horrors of class in Eric Kripke’s Supernatural
Julia M. Wright

– how am I supposed to be a man? “Faith-Based Initiative” ( West Wing 6.10) The first two seasons of Supernatural , along with Kripke’s slightly earlier work, the film Boogeyman ( 2005 ), 1 like the series discussed in the previous chapter, participate in a post-Clinton interest in masculinity and an

in Men with stakes
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Nature and spirit
David Punter

Algernon Blackwood was born in 1869 and died in 1951, and it has been said that he was one of the greatest English writers of ghost stories and supernatural fiction. That is not my comment but one made by H. P. Lovecraft, and it perhaps provides a rare opportunity to agree with something the egregious Lovecraft said. 1 Blackwood was also a writer of children

in Ecogothic
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Storm and the event
Gwilym Jones

which this absence is crucial to the play and its process of meaning. I will show that responses that bypass this absence of location, however briefly, necessarily fail to address the text on its own terms. We will, moreover, see how King Lear continues and develops Shakespeare’s characteristic approach to storm, namely the systematic troubling of the expectation of the supernatural. As this aspect of

in Shakespeare’s storms
The early horror films of Mario Bava
Reynold Humphries

Blood and Black Lace , 1964). 1 The first three titles belong to what I shall, for argument’s sake, call ‘the supernatural horror film’, the latter to the Italian genre of the giallo . The first point worth noting is that the three examples of ‘supernatural horror’ are all ‘period pieces’, set in the nineteenth century, whereas Sei donne per l’assassino is set in the

in Monstrous adaptations
Arlette Jouanna

Massacre was, in their eyes, proof of its supernatural character. The anonymous author of a Discours sur la mort de Gaspart de Coligny showed that neither earth, water nor fire wished to receive his body; the poet Jean Dorat imagined the ocean throwing back onto its shores the corpses brought by the rivers so that their infamy would not pollute its waves; on the other hand, the priest Artus Désiré attributed a homicidal fury against the Huguenots to the elements themselves: Jouanna_StBartholomews.indd 182 31/10/2012 15:14 Protestant misfortune in biblical perspective

in The Saint Bartholomew’s Day Massacre
Michael Goodrum and Philip Smith

, celebrated women’s biological difference, and sanctified the nuclear family’.15 Women in horror comics often wield forms of unsanctioned power through involvement in crime, by manipulating men, or by access to supernatural powers. Over the course of horror narratives, these women are stripped of their power, humiliated, and subject to (often sexualized) violence. Indeed, while Gothic literature has often, George Haggerty argues, explored and made concrete desires ‘which violate terms of conventional social intercourse’, the sexuality on display in horror comics is, at

in Printing terror
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Gwilym Jones

of effects in or from the tiring house that would establish or confirm a specifically supernatural context in the minds of the audience’. 12 Given that the essay’s focus is ‘Elizabethan and Jacobean plays’, the argument is, broadly, well founded, and supported by several examples. And yet if this ‘specifically supernatural context’ was indeed convention, then it was a convention subject to

in Shakespeare’s storms