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Fred Botting

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
Matthew Schultz

, 292. 102 Burns, No Bones, 292. 103 Burns, No Bones, 285. 104 Burns, No Bones, 293. 105 Burns, No Bones, 294. 106 Burns, No Bones, 299. MUP_Schultz_Haunted.indd 162 03/04/2014 12:23 Gothic inheritance and the Troubles 163 Burns, No Bones, 315. Burns, No Bones, 252. Burns, No Bones, 258. Jim Hansen, Terror and Irish Modernism: The Gothic Tradition from Burke to Beckett (Albany, NY: State University of New York Press, 2009), p. 7. 111 Malachi O’Doherty, ‘Don’t talk about the Troubles.’ Fortnight 457 (2008): 12. 112 O’Doherty, ‘Don’t talk about the

in Haunted historiographies
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Improbable possibilities
Robert Duggan

, 1990a, 23) This allusion to Mary Shelley’s own birth, which caused the death of her mother Mary Wollstonecraft, helps develop the Frankenstein parallels and Frank, like Shelley’s monster, is the result of an experiment to create an artificial man.10 Sage’s incorporation of Banks’s book into the gothic tradition, however, does not address the important ways in which the novel invokes the gothic only to distance itself from it. Whereas Shelley’s monster resembles Rousseau’s natural man and is a Romantic being capable of sensitive feelings and virtuous actions, Banks

in The grotesque in contemporary British fiction
John Gibbs

generic boundaries. Michael Walker, in an article ‘Melodrama and the American Cinema’, from 1982, also identifies a broad melodramatic tradition in Hollywood cinema, within which he identifies two categories: melodramas of action (which include Westerns, crime thrillers and adventure films) and melodramas of passion: the woman’s film; romantic melodramas; family and/or small-­town melodramas; melodramas in the gothic tradition.52 All of the writers discussed in this chapter, with the exception of Willemen, make a distinction along these lines and Walker adopts and

in The life of mise-en-scène
Open Access (free)
Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

incest allow texts to be considered masculine or ‘real’ Gothic, while incest that is averted, non-violent or implied is considered part of the Female Gothic tradition. Such a view is apparent in James Watt’s argument that Lewis’s deployment of sexuality ‘amplified the suggestion of impropriety that was only implicit in the work of a writer such as Ann Radcliffe’. 33 Similarly, Vartan P. Messier

in Gothic incest
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Eighteenth-century Gothic poetics
Andrew Smith

degree to which the self is fashioned within an aesthetic of absence identifies the elegy as the starting point for the Gothic tradition – it is one in which ideas about ‘knowing’ also indicate how closely death, writing and emotion form a complex trinity in an epistemology of the self. The elegy In Edward Young’s Night Thoughts (1742–45), feelings about death are supplanted

in Gothic death 1740–1914
Constructing death constructing death in the 1790s–1820s
Andrew Smith

’s Night Thoughts . It might appear to elaborate a non-Gothic model of the subject, but the repeated links between creativity, memory and order should be read as counterpoints to an emerging Gothic tradition in the period – one that questioned the notions of authenticity under which such a model of the subject is organised. As we saw in the previous chapter on the elegy, for Peter M. Sacks Art

in Gothic death 1740–1914
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History and the Gothic in the eighteenth century
Jonathan Dent

part of, rather an influence on, the Gothic tradition and focuses exclusively on the development of the Gothic novel in the eighteenth century. As the various reflections on historical understanding that feature in the novels of Fielding and Smollett suggest, the novel, with its emphasis on narrative, structure, interpretation, and testimony, is useful for critiquing historiography and draws attention to the literary

in Sinister histories
Sherlock Holmes, Count Dracula and London
Andrew Smith

reformations of the Gothic tradition. Mighall also notes how this development of the Gothic influenced Dickens’s Bleak House , because ‘labyrinthine London had already been firmly established as the modern urban equivalent of the Gothic castle or mansion (p. 70). In this way Dickens’s representation of aristocratic decline, as represented by Chesney Wold (the home of Lord and Lady Dedlock), is linked to urban

in Victorian demons
Fathers from American Gothic to Point Pleasant
Julia M. Wright

” through which the archangels Michael and Lucifer can stage their final battle. Genealogy – and specifically the patrilineal – is thus deeply embedded in the gothic tradition, even as it changes in response to shifting socioeconomic structures, and continues to play a role in the television series discussed here. The determinisms of genealogy offer an uncomfortable fit with modern ideas of the hero as an

in Men with stakes