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Andrew Smith

in the various multi-vocal inter-textual forms which characterise The Strange Case of Dr Jekyll and Mr Hyde (1886) and Dracula . The Gothic writings of Stevenson and Stoker might seem far removed from an earlier Romantic Gothic tradition, but an example of how to critically read early Gothic narratives can be found in Conan Doyle’s The Hound of the Baskervilles (1902), which also evidences a fascination with facts, secrets, and forms of interpretation. The legend of the hound of the Baskervilles is an

in Interventions
Nineteenth–century fiction and the cinema
Richard J. Hand

interracial relationships and a multiracial world. At the other end of the nineteenth century, Henry James’s The Turn of the Screw continues to be acclaimed as a work of perfectly balanced ambiguity and contested truths, a short novel that is an abiding cultural emblem of the tipping point from Victorian certainty into Modern insecurities. It is a work of fiction that consciously plays with genre, deliberately drawing on the popular tradition of the Victorian ghost story and wider Romantic and Gothic traditions but does

in Interventions
Zombie pharmacology In the Flesh
Linnie Blake

Conservative agenda as the party fought off the threat from UKIP on the right. See Helm ( 2014 ). 4 Parallels could be drawn here between Mitchell’s Roarton and the small towns of the Southern Gothic tradition of the United States, replete with dark secrets from the past, sexual perversity, highly

in Neoliberal Gothic
Neil Cornwell

(84). For an English translation (unavailable to me), see Lermontov 1984 ; on Vadim and the Gothic tradition, see Vatsuro 2000 : 143-145. 14 The more usually published second version is included in Gogol 1995 ; the first version is to be found in English in Rydel 1984

in European Gothic
Abjection and revelation in Le Fantôme de l’Opéra
Jerrold E. Hogle

been quite international as well as cultural and has been so in ways that expose with striking precision what the cross-generic and class-crossing Gothic can simultaneously abject and reveal in the dynamics of Western middle-class culture. As I have already begun to argue elsewhere (Hogle 1996 ), one of the texts that continues the Gothic tradition quite fully and deliberately just after the turn of the last century is

in European Gothic
French fiction and Djuna Barnes’s Nightwood
Avril Horner

the novel’s debts to surrealism rather than the Gothic tradition (Chisholm 1997 : 185). This ambivalence concerning the strong Gothic legacy evident within Nightwood perhaps also derives from a rather limited conception of the nature of Gothic. Given the complex development of the Gothic mode over 250 years, it is clearly too reductive simply to equate it with suggestions of the supernatural or

in European Gothic
An introduction to Gothic fashion
Catherine Spooner

Goths themselves as barbaric anachronism. The critics’ desire to read depth into millennial Gothic is accompanied by a contradictory tendency to portray Goth as superficial, merely ‘Gothic chic’. Nevertheless, as this book hopes to show, theatricality and preoccupation with the surface are not a distortion of the Gothic tradition but are fundamentally in keeping with it. In

in Fashioning Gothic bodies
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Towards an aesthetic context for William Blake's 'Gothic' form
Kiel Shaub

has shown her to be associated with the same imperialist tendencies that grew out of this nativist or nationalist Gothic tradition. 15 A passage from plate 40 of Milton describes Rahab as the same figure that John wrote of in the book of Revelation: ‘A Female hidden in a Male, Religion hidden in War / Namd Moral Virtue; cruel two-fold Monster shining bright / A Dragon red & hidden Harlot which John in Patmos saw’ ( M 40:20–2; E 141

in William Blake's Gothic imagination
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David Annwn Jones

employ printed versions of full chapters of novels such as Dracula to create a tableau from the story. In terms of hand-created artwork, Gothic calligraphy usually refers to lettering that features the Gothic alphabet as defined above, yet there are fine examples of modern and experimental artwork strongly related to Gothic traditions. For example, an inventive version of E. A. Poe’s The Tell

in Gothic effigy
Eric Klingelhofer

experiments like the royal tombs in Westminster Abbey and the flamboyant Nonsuch Palace were financed by Henry VII and VIII, but a broader impetus for architectural innovation seems not to have taken place until political culture and social change created a mid-sixteenth-century ‘classical moment’ of self-fashioning by the new Tudor courtier class. 5 A strong Gothic tradition, however, took post-Perpendicular forms in such features as staircases and bay windows. Two late medieval trends, the widespread application of battlements and the growth in number or size of towers

in Castles and Colonists