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Urban hieroglyphics, patternings and tattoos in Edgar Allan Poe’s ‘The tell-tale heart’ and Herman Melville’s Moby-Dick; Or, the whale

), Bleak house [1853] (London: Penguin). Dowling, David (2010), Chasing the white whale: The Moby-Dick marathon; Or, what Melville means today (Iowa: University of Iowa Press). Engel, William E. (2012), Early modern poetics in Melville and Poe: Memory, melancholy, and the emblematic tradition (Farnham: Ashgate). Fisher, Benjamin F. (2002), ‘Poe and the gothic tradition’, in K. J. Hayes (ed.), The Cambridge companion to Edgar Allan Poe (Cambridge: Cambridge University

in Tattoos in crime and detective narratives

copy of Richard Greenow was found at Mary Ward’s bedside in 1920 and that “it was probably one of the last books she read”. It cannot have given her any pleasure’. 37 The place of ‘Farcical History of Richard Greenow’ within the gothic tradition of psychic dualism should be taken seriously. Pearl functions as a kind of vampire or succubus, gradually taking over Dick’s rational faculties; but the

in Gender and warfare in the twentieth century
Angela Carter’s re-writing women’s fatal scripts from Poe and Lovecraft

sexuality, in both Poe and Lovecraft, saying of Poe that: The Gothic tradition in which Poe writes grandly ignores the value systems of our institutions; it deals entirely with the profane. Its great Desire, disgust and dead women 189 themes are incest and cannibalism. Character and events are exaggerated beyond reality, to become symbols, ideas, passions. Its style will tend to be ornate, unnatural – and thus operates against the perennial human desire to believe the world as fact. (‘Afterword’ to Fireworks, 1974: 122) While of Lovecraft she notes that: Lovecraft

in The arts of Angela Carter
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Places and spaces in Johan Theorin’s Öland quartet series

between place and space is used as a point of departure to explore the specific Gothic setting in these novels. 4 It is thus possible to make a more precise distinction between local place and Gothic space than is normally done in studies on Gothic setting, where place and space are often used in a more general sense or to explore different national Gothic traditions. 5 The detective and the settings Johan Theorin

in Nordic Gothic

region through language and scenography. The game industry works differently in this respect. There are indeed Gothic games that have a very clear connection to the histories, geographies and Gothic traditions of the Nordic region, but even those will typically use English as the mode of communication. Alongside these games, most of which can be termed independent as they are not distributed by one of the major game production studios, there are a number of large Nordic game developers that make AAA games for the big international game production companies. These games

in Nordic Gothic
Commodification, corporeality and paranormal romance in Angela Carter’s beast tales

Of all the monsters that haunt the Gothic tradition, the werewolf, drawing on the cultural history of the wolf itself as singularly predatory and antisocial, is the most apt for representing our conflicted relationship with nature. This hybrid creature, shifting between mute instinctual savagery and the negation of this as speaking, suffering subject, can serve to dramatise our existence as simultaneously flesh-bound animal and a transcendental consciousness beyond nature. Werewolf fictions have recently taken a sympathetic turn and, following

in In the company of wolves
Father– daughter incest and the economics of exchange

repositioning Radcliffe’s novel – and many that follow – as part of a Gothic tradition distinct from that represented by Walpole’s parodic and satirical work. The contrast between the depictions of incest, sexuality and female agency in The Romance of the Forest and Otranto are marked in that Radcliffe’s representations of father–daughter incest allow the heroine access to desire, voice

in Gothic incest
Re-examining paradigms of sibling incest

particular type of attack on the patriarchy. While the genre functions as a space in which writers articulated these views it does so as part of the wider Gothic genre rather than from within a Female Gothic tradition that questions patriarchy by presenting incest as a sexualised abuse of the power imbalance inherent in the familial and social structures. When Fred Botting and Dale Townshend state that

in Gothic incest
Appointment with Fear

, which he does, laughing. It is a short, efficient horror story, placing us inside the head of a protagonist as he loses his mind – and life. Clearly in the Gothic tradition of Poe, it has the potential for radio adaptation, not least with Wakefield’s use of a radio narrator as protagonist and his tight adherence to an unfurling chronology, narrative decisions that compelled adaptation in this, the

in Listen in terror
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before the heroine discovers his secret, the magic wears off quickly as she finds she has been made an exile through marriage. Carter’s story, however, is not content with disillusioning the romance of marriage by exposing its darker side and turning a critical feminist eye on the patriarchal cruelties underpinning the Gothic tradition. That this tradition involves the exchange, expropriation, exile and

in Limits of horror