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The Journey North in Contemporary Scottish Gothic
Kirsty Macdonald

The journey North is a recurrent motif throughout the Gothic literary tradition, often representing a journey back in time to a more primitive location where conventional rules do not apply. Within the context of contemporary Scottish Gothic this journey continues to involve a temporal regression. The North of Scotland, and specifically the Highlands, is still a Gothic location, allowing for an interrogation of the homogenising notion of ‘national identity’. In this article the journey North is explored in the work of contemporary writers and film directors including Iain Banks, Alan Warner, David Mackenzie, and Neil Marshall.

Gothic Studies
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Excess, Pleasure and Cloning
Monica Germanà

This essay examines the proliferation of visual representations of Robert Louis Stevenson‘s Strange Case of Dr Jekyll and Mr Hyde (1886), considering the question of what links contemporary (Scottish?) Gothic to its problematic origins. After a survey of cinematic and graphic adaptations, the essay focuses on Steven Moffatt‘s Jekyll (BBC, 2007), which combines the post-Darwinian anxieties surrounding Stevensons tale of human regression with a much more contemporary interrogation of the ‘human’ against the backdrop of complex globalised scientific conspiracies. Significantly, the production draws on the Scottish origin of the text, re-proposing the question of (national) identity and authenticity against the threat of globalisation.

Gothic Studies
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Bram Stoker‘s ‘Carpet of Death’ and Ireland‘s Horrible Beauty
Derek Gladwin

This article examines Irish bogland as Gothic landscapes in Bram Stoker‘s The Snake‘s Pass (1890). Conjoining the constituent elements of the Irish bog with the EcoGothic as a literary and cultural mode, the ‘Bog Gothic’ illustrates bogland as untamed wasteland that resists incorporation into modernity and colonialism. This article argues that investigating bogland in The Snakes Pass will draw attention to the ways in which Irish bogs are situated precariously among issues of national identity, colonial consciousness and environmental history, which ultimately results in the marginalisation and degradation of these ubiquitous and emblematic landscapes of Ireland.

Gothic Studies
An introduction
Editor: Jonathan Rayner

This book offers introductory readings of some of the well-known and less well-known feature productions coming out of Australia since the revival in the national film industry at the end of the 1960s. The interpretations of the texts and the careers of their makers are considered in relation to the emergence of an indigenous film culture and the construction of national identity. The majority of the films examined in the book have had theatrical or video releases in the UK. The independent development of several indigenous film genres has been an important feature of recent production, and helped to punctuate and bracket the streams of feature production that have evolved since 1970. These Australian genres have been identified and evaluated (the Australian Gothic, the period film, the male ensemble film) and are worthy of consideration both in their own right and in their intersection with other conventionalised forms. These include science fiction, fantasy and horror in comparison with the Gothic, the heritage film and literary adaptation in connection with the period film, and the war film and rite of passage in relation to the male ensemble. More recently, an aesthetic and thematic trend has emerged in the examples of Strictly Ballroom, The Adventures of Priscilla, and Muriel's Wedding, which foregrounds elements of the camp, the kitsch and the retrospective idolisation of 1970s Glamour. Such chronological, stylistic and thematic groupings are important in the interpretation of national filmmaking.

Exhumation and the autopsy of talent
William Hughes

icon, it has answered the purposes of the times during which it has been reproduced, and has mobilised – however obliquely – a cultural function that unites, in the body of the man as much as in the body of his work, original creativity and a type of national identity. Likewise, the compound – or ‘Frankenstein’ – image advanced by Friswell at the conclusion of Life Portraits of William Shakspeare may be said to serve much the same purpose as the variants on the familiar Bardic visage that precede it in his study. Like Victor Frankenstein, Friswell has carefully

in The dome of thought
Phrenology in the British Isles
William Hughes

established freighting of gendered distinction – at the very centre of his recension of the system, concluding ‘that if a single fact could be produced contrary to what he had advanced in this lecture, it would overturn the whole system he was striving to inculcate’. Whether this was an invitation to challenge, or else an expression of trepidation, is uncertain. 46 Spurzheim returned to both gender and national identity in the fifth lecture, where he noted specifically that ‘the skulls of males and females are much more

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

continuation of, and departure from, the border explorations and reflections on national identity of his earlier books is rendered through the crucial deployment of the motif of sibling incest in the novel. Before exploring in detail the profound significance of sibling incest within the novel, it is worth considering where The Steep Approach to Garbadale fits into Banks’s oeuvre

in Incest in contemporary literature
Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison

, marriage, and the fraught relationship between women’s artistic production and biological reproduction. Lochhead and Galloway Inspired, in part, by Child of Light (1951), Muriel Spark’s biography of Mary Shelley, Liz Lochhead’s Blood and Ice (1983) is a biographical psycho-drama that draws upon Frankenstein to meditate on women’s issues – especially their biological and artistic creativity – across a century and a half. Although Lochhead reflects on Scottish national identity in much of her subsequent work, she

in Adapting Frankenstein
Henry James’s Anglo-American ghosts
Andrew Smith

discussed here with The Turn of the Screw, The American Scene (1907), ‘The Jolly Corner’ (1908), and his uncompleted novel The Sense of the Past (published posthumously in 1917). These texts have been selected on the basis of their representation of haunted houses, which are linked to notions of art, history, place, money, and national identity. James’s ‘The Ghostly Rental’ (1876) helps establish

in The ghost story, 1840–1920
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Elisabeth Bronfen and Beate Neumeier

, it helps to redraw these. While any discussion of the familiar ascriptions of the Gothic as a ‘hybrid genre’, ‘literature of subversion’ and ‘transgressive mode of writing’ must be situated historically, it is our aim to relate these issues back to the early modern period as a poignant moment of transition, in which categories of individual, gendered, racial and national identity began to emerge, and

in Gothic Renaissance