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Making Sense of Hogg‘s Body of Evidence
Joel Faflak

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.

Gothic Studies
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Gardens, religious tradition and ecoGothic exegesis in Algernon Blackwood’s ‘The Lost Valley’ and ‘The Transfer’
Christopher M. Scott

illustrates. Scholars have also disregarded iconographic references to Christianity permeating or emanating from Blackwood's physical settings. This chapter will thus argue that Blackwood's ‘The Lost Valley’ (1910) and ‘The Transfer’ (1912) employ the modus operandi of the ecoGothic to present supernatural gardens that emit dread deriving from Adam and Eve's fall and subsequent ejection from Eden. Blackwood's fiction during this period in British history anticipates late twentieth-century ecotheology by elucidating an extant liminal landscape separating the terrestrial

in EcoGothic gardens in the long nineteenth century
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Phantoms, fantasy and uncanny flowers
Sue Edney

thing’ part of the cultural arena – inside the boundary of ordered society – is often challenged by nature itself, as Adam and Eve found out in their over-flourishing plot ‘eastward, in Eden’ (Genesis 2: 8). The Paradise garden, enclosed ‘With thicket overgrown, grotesque and wild’ ([ Paradise Lost : IV. 136] in Milton 1998 ) 1 is a seriously Gothic place as envisioned by John Milton in Paradise Lost (1667), where virtue is tested, innocence is betrayed and evil appears in nightmares. An inner circle of ‘goodliest

in EcoGothic gardens in the long nineteenth century
An ecoGothic reading of John Ruskin’s garden at Brantwood
Caroline Ikin

the innocent wonder of nature. In Proserpina , written in parallel with the creation of his garden, Ruskin attempted to re-order a world gone astray, with the premise that, ‘Proserpine and Deucalion are at least as true as Eve or Noah; and all four together incomparably truer than the Darwinian theory’ (Ruskin: XXVI. 98–9). Ruskin hedged his language carefully to avert accusations of blasphemy, but by placing myth and religion on an equal platform in his hierarchy of truth he hinted at the vulnerability of his religious faith and his need to find solid ground

in EcoGothic gardens in the long nineteenth century
Joanna Crosby

into a dangerously ambivalent woman, either an Eve, or a Classical goddess. Mid-century Arthurian revival made the folkloric associations of the orchard more explicit. In artistic representation of Arthur's court and their deeds, events had to be depicted in a location, and very often that location was a forest or a ‘greenwood’. The past takes place out of doors, within a landscape where magic survives, untouched by the corruption of industry or urbanisation, which is confined to enclosed, roofed locations or city streets with no green life or sky

in EcoGothic gardens in the long nineteenth century
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Hidden gardens and the haunting of childhood
Francesca Bihet

and the wild children Rudyard Kipling's books Puck of Pook's Hill ( 1906 ) and its sequel Rewards and Fairies ( 1910 ) incorporate a motif anticipating some Cottingley themes: two children playing in a space just beyond the realms of their garden where they encounter fairies. Puck lives in an ancient hill at the bottom of Dan and Una's garden, he is the last fairy in England and through him they meet a whole cast of historical characters. Dan and Una act A Midsummer Night's Dream three times on Midsummer's Eve just under Pook's Hill, thus

in EcoGothic gardens in the long nineteenth century
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An ancient Egyptian Book of Genesis
Haythem Bastawy

. With this drop of ink at the end of my pen, I will show you the roomy workshop of Mr. Jonathan Burge, carpenter and builder, in the village of Hayslope, as it appeared on the eighteenth of June, in the year of our Lord 1799.’  35 Thus, the universe of the novel is created for the reader just as the biblical universe is created for Adam (and Eve). In this sense, Eliot takes on the role not only of the creator god of Egyptian mythology but also that of the biblical god of Genesis. On an even higher level and taking

in Victorian literary culture and ancient Egypt
Christabel, The Eve of St Agnes and Lamia
Robert Miles

and its immediate ripostes, The Eve of St Agnes and Lamia. I want to counter the deep-set bias whereby the Gothic is narrowly read as a prose genre, a bias manifestly not shared by Coleridge, Scott and Byron, who understood poetry to be the most fashionable medium for the Gothic tale of the supernatural. 6 I will depart from my earlier procedure of intertextual comparison

in Gothic writing 1750–1820
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Glennis Byron

darkness’ offers one of the earliest examples of globalgothic with an analysis of a global dance practice, ‘Ankoku butoh’ (‘dance of utter darkness’), first performed in Japan by Tatsumi Hijikata in 1959, on the eve of Japan’s signing of the US–Japan Mutual Defense Treaty. Butoh, Bruhm points out, is a dance devised in such a way that it is not delimited by a particular nationality or subjectivity while

in Globalgothic
Gothic and the perverse father of queer enjoyment
Dale Townshend

Geraldine and Christabel herself, while the countless responses, parodies and rewritings that the poem occasioned would variously eradicate, intensify or reformulate the romance’s queer desirings. More recently, postmodern appropriations of the formal features of Gothic romance by, say, Angela Carter in The Passion of the New Eve (1977) or Jeanette Winterson in Sexing the Cherry (1989) would

in Queering the Gothic