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Avril Horner

Spanish Romanticism’, examines the representation of ritual violence, as sanctioned by the Catholic Church, in English and Spanish pictorial and literary texts between 1796 and 1834. Taking a passage from Maturin’s Melmoth the Wanderer as a key reference point, Curbet explores how Gothic writing manages to offer an Enlightenment intellectual perspective on sacrificial acts whilst drawing the reader into

in European Gothic
Michael B. Riordan

Mary, Queen of Scots. All of his works were published with royal permission. 63 Also like Harington, Maxwell thought that Catholics were more convinced by prophecy. But, where Harington’s attitude to prophecy was utilitarian – it was useful to gain Catholic support – Maxwell believed in prophetic power, devoting six years to scouring European libraries for prophecies. 64 His diligence was motivated by desire for peace. His Admirable and Notable Prophesies (1614) called Roman Catholics to convert to the true Catholic Church. Union of Christendom would encourage

in The supernatural in early modern Scotland
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The supernatural and the textual
Janet Hadley Williams

uther solatius consaittis [merry songs and comforting notions]’. 48 A reductive rubric, almost certainly added by Bannatyne himself, precedes the poem: 49 ‘Heir followis the cursing of Schir Johine Rowlis / Upoun the steilaris of his fowlis’. There is an expectation of comedy in its easy allusion to cursing and a hint that one of the Catholic Church’s most solemn procedures, which meant damnation when carried out, is no longer taken seriously in post-Reformation Scotland. 50 Bannatyne’s ‘mirry’ subtitle has had an observable influence on other elrich poems within

in The supernatural in early modern Scotland
Phrenology in Britain during the first decade of the nineteenth century
William Hughes

the prohibitive edict had been applied at the behest of the Roman Catholic Church. See, for example, Anon., ‘An Account of Dr Gall's system of craniology’, Medical and Physical Journal , 15/85 (March 1806), 201–13 at p. 201; van Wyhe, however, finds no substantial evidence for this: see ‘The authority of human nature’, pp. 25, 41. 15 van Wyhe suggests that Gall's intention was to extend his lecture tour to England. See ‘The

in The dome of thought
Marie Mulvey-Roberts

with Christ. 1 Caroline Walker Bynum, Wonderful Blood (2007) The wounded body is a leitmotif of the Gothic novel and central icon of the Roman Catholic Church, which has perpetuated images of crucifixion, martyred saints, bleeding statues and mystic stigmatics. Sacred art depicts an iconography of suffering

in Dangerous bodies
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A spirited exchange 1760-1960
Editor: Avril Horner

The essays in this book demonstrate the importance of translation and European writing in the development of the Gothic novel. Cross-cultural exchanges occurred with the translation of novels by English writers into French. The book first situates works by British writers and American writers within a European context and legacy. Next, it offers readings of less-known works by Gothic authors. The book introduces the reader to a range of neglected, albeit influential, European Gothic texts which originated in Russian, Spanish, French and German. It argues that the level of ideological manipulation, which occurred as texts were translated, mistranslated, appropriated, misappropriated, altered and adapted from one language to another, was so considerable and so systematic that generic mutations were occasioned. The book suggests that Matthew Lewis's The Monk offers a few models of femininity, all deriving from and intended to disrupt, previous literary representations. It focuses on the automatic and the systematic in Charles Maturin's work in relation to Denis Diderot's contemporary philosophical conceptualizations of consciousness and identity. Gothic treacheries are dealt with through Samuel Coleridge's analysis of misappropriation of Friedrich Schiller's Die Rauber. The book also discusses the representations of ritual violence, as sanctioned by the Catholic Church, in English and Spanish pictorial and literary texts between 1796 and 1834. It talks about the Arabesque narrative technique of embedding tales within tales to create a maze in which even the storyteller becomes lost, reflecting the Eastern notion that the created is more important than the creator.

Shelley Saguaro

Inquisition conducted by the Catholic Church, ‘epitomized by the trial and humiliating condemnation of Galileo in 1633’ (Thompson 2010 : 54–5). As Peter Thompson points out, almost all academics at this time would be, if not actually ordained, compelled to abide by the Church's doctrines: That was a stumbling block highly likely to trip up anyone attempting to hybridize plants … in order to ‘create’ new and improved varieties – the orthodox presumption being that if they were not present at the beginning

in EcoGothic gardens in the long nineteenth century
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Fur, fashion and species transvestism
Catherine Spooner

–animal transformation hinted at in Matthew O’Connor's hairy transvestism is realised in the deeply unsettling climax of the novel, when Nora's lover Robin drops down on all fours and communes with a dog, ‘grinning and whimpering … barking in a fit of laughter’, in a Catholic church. 7 The werewolf does not have to cross gender boundaries in order to constitute a third term (although in some cases it does also invoke gender fluidity, as we shall see). To wear the wolf (or for the wolf to wear the woman) is a kind of species

in In the company of wolves
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Uncanny assemblage and embodied scripts in tissue recipient horror
Sara Wasson

her husband to go with her blood donor (now lover) to Spain. She also chooses flamboyant dress designs and begins attending a Catholic church, and her singing voice changes from ‘a silvery sweetness’ to ‘crimson velvety voluptuousness’ – well might the narrator say she ‘changed in a great many ways’ (pp. 92–6)! The surgeon Dr Archbell laments, ‘“Like Frankenstein, I have through the agency of science, literally created a monster, that may fill my life and that of others with regret and remorse”’ (p. 201). This ‘monstrosity’, in Archbell’s telling, is a function of

in Transplantation Gothic
Adaptation and reception of Andrea Newman’s A Bouquet of Barbed Wire (1969)
Frances Pheasant-Kelly

, p. 109. 122 Ibid ., p. 109. 123 Ibid ., p. 109. 124 These include Josef Fritzl in 2008 and reports of child abuse by the Catholic Church

in Incest in contemporary literature