Rebecca Munford

female Gothic’ heroine. 3 An adolescent girl on the threshold of womanhood, Melanie initially experiences her position as a Gothic daughter through the Sleeping Beauty narrative. Her night-time journey dressed up in her mother’s wedding dress takes her beyond the walls of her father’s house to encounter the mysterious, and perilous, horrors of the nocturnal garden and its

in Decadent Daughters and Monstrous Mothers
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Helena Ifill

an art’, Westminster Review, 60:118 (October 1853), 342–​74 (p. 372). 63 64 Self-control, willpower and monomania 4 Andrew Lycett, Wilkie Collins: A Life of Sensation (London: Random House, 2013), pp. 54–​5. 5 As Tamar Heller observes, ‘the intellectual, Basil, creates monsters he is not able to control’ (Tamar Heller, Dead Secrets:  Wilkie Collins and the Female Gothic (New Haven: Yale University Press, 1992), p. 62), but in the final pursuit it is the creature, Mannion, who hunts his creator. 6 George Rowell, Nineteenth-​Century Plays (London

in Creating character
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David Hume, Horace Walpole and the emergence of Gothic fiction
Jonathan Dent

scrutiny in future Gothic works. This is particularly the case with the Female Gothic novels of Lee and Radcliffe. 14 History, how it is written and what it should achieve, is a particular concern in Fielding’s writings. For example, in the aptly named The History of Tom Jones (1749), Fielding conducts

in Sinister histories
Aritha van Herk and No Fixed Address
Susanne Becker

. Lanie saw that the spider had been injured; it had only seven legs. But that did not hinder her design or ambition. (82) The provocative association of injury and pregnancy ironically evokes the confrontation of the myths around motherhood that have constituted the female gothic since Frankenstein

in Gothic Forms of Feminine Fictions
Helen Wheatley

‘model viewer’ at home. As with the female Gothic adaptations discussed in chapter three , Millennium’s makers also acknowledged the importance of point of view in creating viewer-protagonist identification within Gothic television, as a way of suturing the model viewing into the narrative. As David Nutter explains, ‘one of the things that Chris Carter has instilled in me is that point of view is

in Gothic television
Peter Hutchings

young, innocent schoolteacher, Marianne Danielle, is lured to the Castle Meinster where she encounters the vampire Baron and his mother, the Baroness. For the first time in his Hammer horror work, Fisher has a female as his central protagonist, and in depicting her attempts to uncover the mystery of the Castle Meinster, the film is more than a little reminiscent of that other Fisher ‘female gothic’ So Long at the Fair

in Terence Fisher