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 Gothictradition. That this tradition involves the
exchange, expropriation, exile and
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.
Gothic inheritance and the Troubles
Burns, No Bones, 315.
Burns, No Bones, 252.
Burns, No Bones, 258.
Jim Hansen, Terror and Irish Modernism: The GothicTradition 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
112 O’Doherty, ‘Don’t talk about the
, 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 gothictradition, 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
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 gothictradition.52 All of the writers discussed
in this chapter, with the exception of Willemen, make a distinction
along these lines and Walker adopts and
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 Gothictradition. 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.
degree to which the self is fashioned within an aesthetic of absence
identifies the elegy as the starting point for the Gothictradition
– 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.
In Edward Young’s Night
Thoughts (1742–45), feelings about death are supplanted
Constructing death constructing death in the 1790s–1820s
’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 Gothictradition 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
part of, rather an influence on, the Gothictradition 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
reformations of the Gothictradition.
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
through which the archangels Michael and Lucifer can stage their final
battle. Genealogy – and specifically the patrilineal – is
thus deeply embedded in the gothictradition, 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