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Melissa Edmundson

Throughout the nineteenth century, the term ‘uncomfortable houses’ was used to describe properties where restless spirits made life unpleasant for any living persons who tried to claim these supernatural residences as their own. This article uses the idea of ‘uncomfortable houses’ to examine how this ghostly discomfort related to larger cultural issues of economics and class in Victorian Britain. Authors such as Charlotte Riddell and Margaret Oliphant used the haunted house story as a means of social critique which commented on the financial problems facing many lower- and middle-class Victorians. Their stories focus on the moral development of the protagonists and reconciliation through the figure of the ghost, ultimately giving readers the happy endings that many male-authored ghost stories lack. Riddell‘s ‘The Old House in Vauxhall Walk’ and ‘Walnut-Tree House’ and Oliphant‘s ‘The Open Door’ serve as important examples of this ‘suburban Gothic’ literature.

Gothic Studies
Global ecoGothic and the world-ecology in Rana Dasgupta’s Tokyo Cancelled
Sharae Deckard

’. The incestuous union of Sapna and Imran at the end of the tale parodies the artificial reconciliation of social contradictions in conventional Gothic narratives, traditionally achieved through marriage. But it could also be read as the subversive reunification of alienated spheres: the melding of the clones, the cleavage of divided classes and genders, the re-conscionization of nature–society relations

in Ecogothic
Metaphor and relation in the poetry of Ted Hughes and Sylvia Plath
Charles Mundye

permission of Faber & Faber (world rights excluding US) and Farrar, Straus and Giroux (US rights). 3 Eavan Boland, ‘Ted Hughes: A reconciliation’, PN Review 25:5 (May–June, 1999), p. 6. 4 See Erica Wagner, Ariel’s Gift (Faber & Faber, 2000) pp. 149

in Incest in contemporary literature
Open Access (free)
Location the Irish gothic novel
Christina Morin

is far from an innocent victim. Instead, he is actively presented as an unsympathetic, if not hateful, character for much of the story. At the same time, his reconciliation with his wife shortly after she sees his ‘ghost’ and realises that he has survived the attack against him, coincident to his own personal reformation, gestures towards the allegorical unions of the later Irish national tale, as popularised by Sydney Owenson's The wild Irish girl (1806) (‘Conjugal fidelity’, p. 184). By vilifying the prominent Protestant character in the story and by suggesting

in The gothic novel in Ireland, c. 1760–1829
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An ancient Egyptian Book of Genesis
Haythem Bastawy

: ‘Christ therefore is the distinction of Christianity from Heathenism’. 26 The impact of Feuerbach's process of systematic deconstruction of Christian faith on Eliot was such, I suggest, that she spent the next six years of her life investigating other forms of ‘heathen’ or polytheistic faiths, as well as trying to create her own reconciliation between Christianity and the oldest form of polytheism: ancient Egyptian religion. Eliot conspicuously drew on Methodism in Adam Bede

in Victorian literary culture and ancient Egypt
Ancient Egypt in the aesthetic and decadent imaginary
Giles Whiteley

Oxford . 68 On this point, see Linda Dowling, ‘Walter Pater and Archaeology: The Reconciliation with the Earth’, Victorian Studies , 31:2 (1988), 209–31.

in Victorian literary culture and ancient Egypt
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Eleanor Dobson

complex spiritual views can overlap and merge. Bastawy's chapter ( Chapter 2 ) also focuses on Christianity and its relationships to other faiths, establishing how George Eliot combines Christian and ancient Egyptian religious references in her first novel, Adam Bede (1859). Eliot's text, Bastawy claims, represents a reconciliation of faiths and a recovery of universalism at a time of religious conservativism. To a degree, Eliot anticipates the rapid increase in interest in Eastern religions, alternative spiritualities and occultism in the late nineteenth century

in Victorian literary culture and ancient Egypt
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Graphic children’s texts and the twenty-first-century monster
Jessica Straley

‘child’ that his father thinks he should be. Emphasising the adult’s insistence on the radical division between child and monster, Burton then moves towards their reconciliation. Unlike Adams and Oliver’s board book or McDonnell’s picture book, Frankenweenie does not seek to erase monstrosity for the sake of childhood normalcy but, rather, the film articulates a deep longing for the alternative that monstrosity offers. The contrast between Victor’s weirdness and Mr Frankenstein’s idea of a ‘normal’ childhood is dramatised by the competing

in Adapting Frankenstein
Lissette Lopez Szwydky

an unthreatening Creature … into polite society’ (Fisch 117). Invoking previous adaptations’ use of the power of music to enthral the monster, Otto plays his magic flute and, ‘ The monster, neatly dressed a la happy Villager with his hair and moustaches curled, enters smiling & following the music. …. The monster dances pleased ’ (Brough and Brough, Scene 7. Reprinted in Forry, 249). Frankenstein and the monster hug. The reconciliation is complete once Frankenstein agrees to find his ward ‘a situation’ to support himself financially and become a productive, model

in Adapting Frankenstein
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Places and spaces in Johan Theorin’s Öland quartet series
Yvonne Leffler

Joakim's ghostly experiences in the sealed-up room also makes him re-evaluate his bond to both his dead sister and his wife, and his reconciliation also results in the revelation of important information about their lives and deaths. In the end, his unearthly experiences in the memorial room for the dead save him and his children from being robbed and burnt to death. However, the supernatural manifestations of an older order may also encourage the reader to imagine the darkest possible outcome, as for example in Skumtimmen when Julia, the mother

in Nordic Gothic