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Doppelgängers and doubling in The Vampire Diaries
Kimberley McMahon-Coleman

examined elsewhere in this book), but also explicitly attempts to reflect ‘real’ contemporary teenage society and adolescent relationships, albeit it through the lens of the supernatural. 3 The narrative centres on a love triangle involving two vampire brothers and their mortal love interest, Elena Gilbert. The brothers, Stefan and Damon Salvatore, are themselves configured as foils to each other. Stefan is

in Open Graves, Open Minds
Laurie Johnson

The supernatural world framing the action in A Midsummer Night's Dream is populated by figures derived from a range of pre-Shakespearean sources. 1 Yet the most elevated of these figures, Oberon and Titania, have long been thought by scholars to contain topical allusions to Elizabeth and her relationships with one or more courtiers. The play thus seems to be a locus for potentially competing fields of influence on the playwright: borrowing from the past while also writing directly to the

in Shakespeare and the supernatural
Owen Davies

so much a process of secularization but of decreasing reliance on the spiritual support of the Church. The only way of maintaining popular participation was to accommodate folk beliefs, involve people in the manifestation of the supernatural, and promote the practical application of religion. A classic example of such a clerical response was Abbé Olive’s Association de Notre-Dame des Sept-Douleurs de Boulleret , which was

in Witchcraft Continued
The heritage of horror on British television
Helen Wheatley

-laden anthologies of the 1960s and 1970s which, in their heyday, offered original and adapted teleplays that pushed the boundaries of television production through the visualisation of the supernatural and the grotesque. Secondly, we will turn towards the moment in which grand guignol Gothic was no longer confined to a dim and distant past but was brought up to date, with a shift towards a more quotidian kind of

in Gothic television
Antony and Cleopatra and visual musical experience
Simon Smith

, ‘instrumental music – whatever symbolic weight it might carry – is almost always assumed to be audible to the characters on stage’ as well as to the audience, unless explicitly framed as otherwise.26 When unseen music appeared, then, providing there was no suggestion that it was supernatural, disembodied and invisible, the audience’s overwhelming understanding would be that the dramatic world extended beyond the playhouse’s stage to the location of this hidden sound. Early modern playmakers exploited playgoers’ desires to see the music in order to create this effect of

in The senses in early modern England, 1558–1660
Christabel, The Eve of St Agnes and Lamia
Robert Miles

-9). Surprisingly, there has been no extended effort to link the poem’s exploration of division to the Gothic. Christabel’s status as a Gothic tale of the supernatural is universally accepted. But in the older criticism Christabel’s Gothic particulars are generally seen as so many unsubstantive accoutrements, as if the poem’s metaphysical body were draped in fashionable, critically trivial, clothes. More recent

in Gothic writing 1750–1820
Spenser and Shakespeare
Robert Lanier Reid

as persistently as the early plays. The word ‘spirit’ gathers a growing range of jarring nuances, dominated by the natural (bodily spirits, passional spirits) but never omitting the supernatural (soul, ghost, demon, elemental sprite, divinity). Spenser’s allegorical centres, his figurative houses or gardens that imply self-knowledge in antique and medieval

in Renaissance psychologies
Elisabeth Bronfen and Beate Neumeier

absolutized the exercise of human justice. But libels also used ghosts to satirize famous public figures, inviting readers to reflect as sceptically on politics as they would on a supernatural story. Ghost sightings were a favourite topic for pamphleteers, and accounts of supernatural sights, wonders and demons were published frequently in the seventeenth century

in Gothic Renaissance
Nightmares, conscience and the ‘Gothic’ self in Richard III
Elisabeth Bronfen and Beate Neumeier

of Lewis’s The Monk – a text that offers a succinct parallel to the ambiguity concerning supernatural events and inwardness that we find in Shakespeare’s play. This approach, however, calls for a more detailed contextualization of both dream theory and the notion of conscience. I suggest basically that the ambiguous status of conscience in the

in Gothic Renaissance
American Gothic television in the 1960s
Helen Wheatley

supernatural literature (Edgar Allen Poe, H.P. Lovecraft) and the more contemporary work of John Dickson-Carr, and was particularly noted for its outstanding casts, some of whom (Boris Karloff, Peter Lorre, etc.) were already associated with filmic horror. Shortly after Suspense was produced in the United States, NBC introduced their own version of the Gothic-horror anthology series, Lights Out (1949

in Gothic television