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The Elephant Man, the Hysteric, the Indian and the Doctor
Andrew Smith

interpretation of him. Figure 1 Joseph Merrick Frederick Treves, ‘A Case of Congenital Deformity’, Transactions of the Pathological Society of London , XXXVI March (1885), 494–8 Plate XX What we witness is how crucial a role a Gothic aesthetic

in Victorian demons
Hammer Film Studios’ reinvention of horror cinema
Morgan C. O’Brien

auteur status while aligning the studio itself with the American studio era. Pirie saw Hammer operating as a ‘mini-major’ in a dilution of the early Hollywood mode of production ( A Heritage of Horror 43). The auteur theory was still being codified in the 1970s, and, seeing critically derided director Terence Fisher as the hand that shaped Hammer’s Gothic aesthetic, Pirie was keen to be the first to resituate Fisher as an artist (Ibid. 49, 52). To assert Fisher’s status, Pirie used the incipient auteur theories of Andrew Sarris and Peter Wollen, utilising their tenets

in Adapting Frankenstein
Andrew Smith

a more jocular reference to Dracula , writing, ‘He comes pale vampire, through storm his eyes, his bat sails bloodying the sea, mouth to her mouth’s kiss. Here. Put a pin in that chap, will you?’ 20 German Expressionist films such as Wiene’s The Cabinet of Dr Caligari (1919), Wegener’s The Golem (1920), and Murnau’s Nosferatu (1921) exploited a Gothic

in The ghost story, 1840–1920
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E.J. Clery and Robert Miles

2.1 Cornelius Tacitus (55 to after 115 AD), Germania (trans. 1777), translated by John Aikin The Gothic aesthetic in architecture, poetry and fiction did not emerge in a vacuum. In the words of one authority, ‘the history of the “Gothic” begins not in the eighteenth but in the seventeenth century, not in aesthetic but in political discussion’ (Kliger, 1945, p. 1

in Gothic documents
The medium and media of Fatal revenge
Christina Morin

Irish ‘pre-Gothic aesthetic’ arguably discernible in works as diverse as Temple’s Irish rebellion , Jonathan Swift’s A modest proposal ( 1729 ), and the elegiac Graveyard poetry of the 1740s. 58 These early stirrings of the Gothic imagination in Ireland evocatively reveal the ways in which the Gothic mode provided, as Killeen maintains, ‘the means by which late eighteenth-century Irish

in Charles Robert Maturin and the haunting of Irish Romantic fiction
Australian films in the 1990s
Jonathan Rayner

, instead greeting each appalling plot turn with a resigned shrug. 7 Characteristics of the Gothic (in the portrayal of pervasive parental authority, the sudden irruption of doom-laden events, and the dis-empowered hero) are treated humorously in writer-director Ruane’s debut feature. The black comedy and splatstick elements incorporated alongside the contemporary, multicultural context make Death in Brunswick a key example of the modernisation and modification of the Gothic aesthetic in later popularised forms

in Contemporary Australian cinema
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1990s style and the perennial return of Goth
Catherine Spooner

, not only glorifying suffering but also distancing it through its conscious theatricalisation. As Hannaham argues, ‘The requisite adornment that goes hand in hand with a “Gothicaesthetic, as rock and roll defines it, calls the sincerity of the wearer into question. They’ve dealt with their feelings of alienation from society by reinventing themselves as “monsters”.’ 16 The consensus among these

in Fashioning Gothic bodies
Open Access (free)
Female sexual agency and male victims
Jenny DiPlacidi

play’s offended parties. As the Gothic aesthetic insists (through its idealisation of Romance) these taboos are rationally rooted in a providential nature, supporting political and familial legitimacy’ (p. 119) while Clery finds the play resistant to its contemporaneous political hegemony. 29 Samuel

in Gothic incest
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Eighteenth-century Gothic poetics
Andrew Smith

(as a mode of knowledge) and writing (a new Gothic aesthetic), as it is the form that is centred on issues of representability and explores emotional extremes (and how to modify or contain them). The tensions between the extra-textually authentic and literary conceptions of creativity were explored in relation to Pfau’s idea of a compensatory aesthetic that attempts to overcome symbolic absence. The

in Gothic death 1740–1914
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David Annwn Jones

reverence for the foundations of British freedom. Designed with triangular floorplan and a façade involving three great arched windows with trefoils and doorways and a castellated Gothic tower of Northamptonshire ironstone, it is one of the most imposing Gothic follies of Britain. It is inscribed with the words: ‘Liberty of our Ancestors’. In the first stirrings of Gothic aesthetic taste, garden

in Gothic effigy