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David Annwn Jones

, tentacled abomination, frozen in mid-writhe, a single, unblinking, golden eye gazing out from its dark mass. 3.7 Postmodern Gothic sculptures and figurines The dismembered ‘Disaster’ polymer figures of Jake and Dinos Chapman’s installations, Damien Hirst’s statues and Alexander McQueen’s clothed manikins have each influenced each other in Gothic

in Gothic effigy
Joseph Hardwick

acceptance in society: this might explain why the family of the Jewish businessman Joshua Norden paid for a memorial in Grahamstown’s church. 129 Memorials declined sharply after Gray’s arrival. Not only did they challenge the Church’s claims to be an inclusive institution, they were also regarded as out of step with the gothic aesthetic. Merriman instructed the local military to erect stained

in An Anglican British World
The female ghost story
Andrew Smith

. Peg, the narrator of The Haunted River , makes a living as an artist. Her reflections on her art suggest abstract associations with the ghost story and a more general sense of an artist’s place within a wider market. She decides to paint an abandoned mill on the edge of what turns out to be a haunted river and applies a Gothic aesthetic as she wanders ‘about the ruined building, trying to decide from

in The ghost story, 1840–1920
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Julia M. Wright

the same sorts of questions and concerns – rather than in the depiction of particular sorts of monsters and villains. While my focus is the gothic aesthetic rather than television series as marketed commodities, it is worth stressing the ways in which these gothic series demonstrate the inexactness of the industry’s ideas of its audience’s tastes and interests. The most long

in Men with stakes
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"The Pest House," "Hell House," and "The Murder House"
Julia M. Wright

, resurrecting the materials of the past – castles, folk belief, feudalism – to critique contemporary claims to rationality, progress, and civility, the benchmarks of modernity in Enlightenment thought. Robert Miles thus suggests that “the Gothic aesthetic sets up, as one of its poles, contemporary decadence, a ‘modernity’” defined by “fashion” and “effeminate culture,” 1 while Dale Townshend and

in Men with stakes
Rebecca Munford

were not good with women. That is why, although I thought they were wonderful, I had to give them up in the end. [...] I knew I wanted my fair share of the imagination, too. Not an excessive amount, mind; I wasn’t greedy. Just an equal share in the right to vision’ (‘AW’ 512). Shadow Dance and Love reveal how surrealism, as part of a broader European Gothic aesthetic, often envisages femininity

in Decadent Daughters and Monstrous Mothers