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Julian Goodare and Martha McGill

‘cryptozoology’ and exemplified by tales of the Loch Ness Monster, nevertheless finds early modern parallels. 20 Sixteenth-century Scotland inherited a medieval literary tradition of ‘barnacle geese’ – not the modern birds of that name, but legendary geese engendered from barnacles growing on wood. The birds’ legend may have been connected with the fact that some species of wild geese were never observed to build nests or raise young (they did so on migration to the Arctic, but bird migration was unknown before modern times). A description of Scotland published in 1458

in The supernatural in early modern Scotland
Open Access (free)
Christina Morin

have been largely ignored by literary criticism. Like Roche, then, Cuthbertson represents the migration of Irish literary production at the start of the nineteenth century and is indicative of the systematic erasure of so much popular fiction from the annals of (Irish) Romantic literature. The relegation of gothic romance writers such as Roche, Cuthbertson, and many of the other authors included in this study to the margins of literary history not only denies the significance of their long-lasting, transnational appeal, but it also emphasises the limitations of

in The gothic novel in Ireland, c. 1760–1829
Open Access (free)
Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Christina Morin

, ultimately proves disastrous for him, it serves several important purposes. First, it highlights the wholesale migration of Irish print culture in this period. Second, it emphasises the precariousness of London literary life for Irish émigré authors like Roche herself. Third, it points to the acute awareness Roche shared with many of her contemporaries of her participation in what Karen O’Brien calls ‘a borderless and mobile European and transatlantic culture of fiction’ that enabled and encouraged cultural transfer and an ongoing reconfiguration of Irishness during the

in The gothic novel in Ireland, c. 1760–1829
Nordic Gothic and colonialism
Johan Höglund

Icelandic, Greenlandic, Inuit or Sámi. There are also writers that utilise Gothic to discuss migration from the Global South into the Nordic region from different points of origin. In this writing, Gothic can again be used both to fortify conservative and even racist positions, or it can be employed to address racist ideologies and practises rooted in the colonial enterprise. While the scope of this chapter does not make it possible to substantially address writing written by, or about, diasporic communities in the Nordic region, the existence of such communities and

in Nordic Gothic
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Maria Holmgren Troy, Johan Höglund, Yvonne Leffler, and Sofia Wijkmark

decades. Today, migration into and between nations, and the emergence of strong indigenous movements in Sweden, Norway, Finland and Greenland, are again changing the Nordic cultural and linguistic landscape. New literatures have emerged in the Nordic region, in languages such as Sámi, Arabic and Greenlandic, and in what is sometimes referred to as ‘sociolects’, social registers employed by certain, often marginalised groups in society. This geopolitical and linguistic history, and the cultural and political tensions that have followed in its wake, deeply inform

in Nordic Gothic
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Migrant bodies and uncanny skin
Lisa Mullen

inward-looking national agenda, and ideas about empire, decolonisation and migration were notably absent from the main London exhibitions at the South Bank and the Science Museum. Becky Conekin has argued that this silence was due to a combination of national embarrassment about the end of the empire – understood as a ‘loss of British power and prestige in a period already filled with disappointment and uncertainty’ – and of a new emphasis on science, rather than foreign adventure, as the motor of British progress. 52 This was not the whole story, however. One

in Mid-century gothic
Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
Glenn Jellenik

fear is played for laughs; he is cast as the rustic rube: ‘Why couldn’t you be happy in your native village … instead of coming here to the city?’ (I, i). Interestingly, that clownish anxiety pushes on a broader cultural anxiety surrounding emerging issues of modernity, namely, industrialisation and the huge population migration away from the English countryside and into the city. William Wordsworth’s ‘Preface to the Lyrical Ballads’ (1800 edition), the poet’s unofficial manifesto of Romanticism, touches directly on this anxiety. The Preface

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

family/nation. In its playful opening migration between different points of view, from Fielding’s snobbery, to Alban’s laconic enigma to his host Tango’s working-class domestic scene, Garbadale echoes The Bridge ’s play with downward class mobility on the part of its often disaffected protagonist, as the ambitious and accomplished Lennox of the real world who has left his West Coast roots to become

in Incest in contemporary literature
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An ancient Egyptian Book of Genesis
Haythem Bastawy

; Jewish history begins seven hundred years earlier, with the migration of Abraham from Chaldea; but even when this father of the Hebrew nation led his herds to drink of the waters of the Nile, Egypt was already a highly civilized country’. 16 The author's allusion here to Egypt as ‘a highly civilised country’ at a time when the chosen people were still roaming the desert could be seen as a gesture towards the significance of the study of ancient Egyptian history not only for its own sake but also for the richer

in Victorian literary culture and ancient Egypt
Open Access (free)
Location the Irish gothic novel
Christina Morin

See Christina Morin, ‘ “At a distance from [my] country”: Henrietta Rouvière Mosse, the Minerva Press, and the negotiation of Irishness in the Romantic literary marketplace’, European Romantic review , 28.4 (2017), 447–60; and ‘Irish gothic goes abroad: cultural migration, materiality, and the Minerva Press’, in Marguérite Corporaal and Christina Morin (eds), Traveling Irishness in the long nineteenth century (Basingstoke and New York: Palgrave Macmillan, 2017), pp. 185

in The gothic novel in Ireland, c. 1760–1829