This paper explores the occult relationship between modern psychoanalysis and the pre-Freudian psychoanalysis of James Hogg‘s 1824 Gothic novel, The Private Memoirs and Confessions of a Justified Sinner. Haunted by the ghosts of Mesmerism and of Calvinisms rabidly contagious religious fervour, Hogg‘s novel explodes post-Lockean paradigms of the subject for a post-Romantic British culture on the eve of the Empire. Turning back to Scotland‘s turbulent political and religious history, the novel looks forward to the problems of Empire by turning Locke‘s sense-making and sensible subject into the subject of an unconscious ripe for ideological exploitation, a subject mesmerized by the process of making sense of himself.
Malcolm and Margaret marry – or whether the publisher manipulated the ending to make the novel more marketable.
Lisa Hopkins, ‘Crowning the King, Mourning his Mother: The Jewel of Seven Stars and The Lady of the Shroud ’, in William Hughes and Andrew Smith (eds), Bram Stoker: History, PsychoanalysisandtheGothic (Basingstoke: Macmillan, 1998), pp. 134
Vampirism, Victorianism and collage in Guy Maddin's Dracula – Pages from a Virgin's Diary
Universitäts-Bibliothek, pp. 183–92.
Mighall, R. (1998), ‘Sex, History and
the Vampire’, in W. Hughes and A. Smith (eds), Bram
Stoker: History, PsychoanalysisandtheGothic ,
Basingstoke: Macmillan, pp. 62–77.
Mitchell, D. (1975
Wilde: Deviance, Morality, and Late-Victorian Society . New
Haven, CT and London : Yale University Press .
Fudge , Erica ( 2010 ). ‘Why it’s
easy being a vegetarian’ , Textual Practice ( 24 ( 1 ): 149–66 .
Maggie ( 1998 ). ‘Vampiric Arts: Stoker’s Defense of Poetry’ , in Bram Stoker: History, PsychoanalysisandtheGothic , eds. William
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Lombroso , Cesare ( 1876 ). Criminal Man
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See Victor Sage, ‘Exchanging Fantasies:
Sex and the Serbian Crisis in The Lady of the Shroud ’,
in William Hughes and Andrew Smith (eds), Bram Stoker: History,
PsychoanalysisandtheGothic (Basingstoke: Macmillan, 1998 ), p. 127 and
Diamonds and curious collectables in the fin-de-siècle fiction of Richard Marsh
the White Worm’, in W. Hughes and A. Smith
(eds), Bram Stoker: History, PsychoanalysisandtheGothic (Basingstoke and
New York: Palgrave Macmillan, 1998), pp. 188–204; A. Worth, ‘Arthur
Machen and the horrors of deep history’, Victorian Literature and Culture,
40 (2012), 215–27; S. Forlini, ‘Modern narratives and decadent things
in Arthur Machen’s The Three Impostors’, English Literature in Transition,
1880–1920, 55:4 (2012), 479–98.
2 A notable exception is Aviva Briefel’s ‘Hands of beauty, hands of horror:
fear and Egyptian art at the fin de siècle’, Victorian
Hundred Years , ed. William Veeder and Gordon Hirsch
(Chicago: Chicago University Press, 1988 ), pp.
161–207; “Stoker’s counterfeit gothic:
Dracula and theatricality at the dawn of
simulation,” Bram Stoker: History, PsychoanalysisandtheGothic , ed. William Hughes and Andrew Smith (New York: St.
Martin’s Press, 1998), pp. 205