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Kelly Jones

theatrical performance. Barker asserts the usefulness of Christopher Balme’s distinctions of intermediality and the need to embrace the interdependence of media, but argues that this realises these media as separate forms and experiences. Barker contends that livecasts force us to consider ‘new ways of “doing liveness”’ (71). This petition to consider new ways of thinking about the live seems appropriate to a consideration of adaptations of a story that warns of the dangers of constructing a new sense of life, liveness, and the lack of

in Adapting Frankenstein
Lissette Lopez Szwydky

another layer to the ‘network of texts’ collectively known as ‘Frankenstein’, but also implicitly or explicitly engages with previous adaptations, blurring the lines between old and new, original and derivative. Together, all the pieces make up the Frankenstein Network. Identifying and understanding adaptation trends from Presumption to the present highlights the nuances and interdependence of Frankenstein ’s adaptation history. One of the most important takeaways from this approach is that a one-to-one model of adaptation does not

in Adapting Frankenstein
Sibling incest, class and national identity in Iain Banks’s The Steep Approach to Garbadale (2007)
Robert Duggan

, then sibling incest might be read as the biggest resistance to trade. Viewed from this perspective the refusal of exogamy or marrying outside the family is the refusal to interact with others for mutual benefit, not to enter into social alliances and extended family networks of interdependence but to keep everything for oneself. Sibling incest might therefore signal the arrogant refusal of the need to trade, and a disavowal of

in Incest in contemporary literature
Open Access (free)
Romances, novels, and the classifications of Irish Romantic fiction
Christina Morin

proves that it is, in fact, revelatory of a much longer established generic fluidity and interdependence that prevents any easy distinction between gothic novel and national tale from the last decade of the eighteenth century into the first two decades of the nineteenth. In its pointed use and interrogation of romance as a tool for describing an often fantastic and horrific reality, moreover, O'Donnel links itself to contemporary tales such as The convent , The heroine , The Irish heiress , and Strathallan . As it does so, it underscores the enduring production

in The gothic novel in Ireland, c. 1760–1829
The gothic potential of technology
Lisa Mullen

, operating linguistically through codes. 70 Television’s primitive precursor, the triode lamp, is also dragooned into his metaphorical system to explain how the Imaginary intervenes in the coded outputs of language and symbols. 71 For Lacan, technological image-making demonstrated the interdependence of the Symbolic and the Imaginary, since his triode lamp needed both in order to produce its effect. Likewise, the cathode tube provides a material analogy for the fragmentary subject: it produces itself autonomously through a process that is fluid, conflicted, and ‘at best

in Mid-century gothic
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Religion, folklore, Shakespeare
E.J. Clery and Robert Miles

This chapter contains a collection of gothic texts between 1706 and 1750 connected with supernaturalism. It is a commonplace that Gothic writing developed in reaction against the rules of neo-classical criticism. The aim of John Dennis's treatise as a whole was to show the necessary interdependence of religion and poetry, and the importance of strong emotions in both. Shakespeare saw how useful the popular superstitions had been to the ancient poets: he felt that they were necessary to poetry itself. Although William Collins ostensibly eschews the use of 'false themes' for himself, his emotive treatment of the supernatural material he recommends to Home makes him a precursor of the Gothic novelists. In the 1790s, Ann Radcliffe frequently cited his poetry in her fiction and journals.

in Gothic documents
W. J. McCormack

circumscribed conventions of Balzac’s Norwegian village, the same interdependence of death and life is evidenced in Séraphita’s influence over her servant David, but with – so to speak – the terms reversed. In Balzac the central figure acts upon the near-dead so as to render them in a state of constant resurrection

in Dissolute characters
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Elisabeth Bronfen

alive and flourishing’. 15 Both the vehemence of the refutation and the semi-contradiction that underlies his assertion of the autonomy of his theory from biographical events indeed seem to demand further speculations on what could have been at stake for Freud in refusing to acknowledge an interdependence between the theoretical formulation of a death drive and the experience of his

in Over her dead body
Gothic kinship in Stephen King’s Pet Sematary
John Sears

, postulated as unattainable, or at best perpetually threatened, merely a fragile ideal, relentless different to itself and, at extreme moments, containing within itself the difference that destroys it. Indeed the intimate structural grasp of how families work – as systems of interdependence, co-reliance, mutual inter-definition, as well as structures of repression and suppression, undesired persistence and

in Gothic kinship
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Hamlet and early modern stage ghosts
Elisabeth Bronfen and Beate Neumeier

is unburied. The question this play’s strange visual doubling leaves undecided is the nature of the relationship between them. Does the interdependence of body and soul survive death after all? If so, what exactly is it that either rests in the grave or walks the earth? Although the play makes proper reference to religious belief (‘Thy body shall

in Gothic Renaissance