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M. R. James at the Edge of the Frame

This article examines the effects of distracted sight, peripheral objects and hazily-perceived images in the ghost stories of M. R. James. It argues that the uncanny illumination produced by the accidental glance in his tales bears affinity with many Gothic narratives, including those of E. T. A. Hoffmann and Margaret Oliphant. James‘s work has often solicited only a casual look from critics, yet his exploration of the haunted edge of vision not only grants his work a hitherto neglected complexity, but also places him firmly within the Gothic tradition.

Gothic Studies
Prison, Slavery and Other Horrors in The Bondwomans Narrative

Haslam reads The Bondwoman‘s Narrative through the lens of the gothic literary tradition, as framed by Jerrold Hogle, and its relations to slave narratives, as discussed by Teresa Goddu. Specifically, the novel uses the gothic, in part, as slave narratives traditionally do: to depict the brutality and horror of the violence of slavery. But Crafts transforms this use of the gothic into a direct attack on the slave owners themselves. Crafts situates the generalities of the gothic tradition within American slavery, writing a gothic narrative that - to transform Hogle‘s analysis - exposes the ‘brutal concreteness’ of slavery while depicting the ‘pervasively counterfeit existence’ of white superiority.

Gothic Studies
and the Triumph of Scottish Schadenfreude

This article examines Denise Mina‘s treatment of Scottish identity and the gothic tradition in her run on Hellblazer, an American horror comic about an English occultist, John Constantine. Mina takes Constantine to Glasgow to confront the deadly “empathy plague” which forces victims to emphasise with others. Mina argues that the Scots revel in the misery of others, making them easy victims for this malady. However, this failing becomes a means for victory, as everyone is united in an outpouring of shameful joy at the story‘s conclusion. Mina‘s Scotland is a home away from home for Constantine – haunted, embittered and lost – and her image of Scotland mirrors representations seen in other Scottish Gothic texts.

Gothic Studies
The Return of the Hibernian Repressed During the Rise and Fall of the Celtic Tiger

Whilst debate rages in certain circles as to what constitutes an Irish Gothic tradition and whether imposing canonical status upon it is even possible or desirable, very little of this discussion focuses on twenty-first century writing, and certainly not upon writing for the stage. The aims of this essay are twofold: to argue the case for a contemporary Irish Gothic theatre school (whose primary proponents I will identify as Martin McDonagh, Conor McPherson, Marina Carr and Mark ORowe); and to place this contemporary school in conversation with the Irish Gothic literary corpus identified by the scholarship of Terry Eagleton, Seamus Deane, W. J. McCormack, Jarlath Killeen, Christopher Morash, Richard Haslam, Sinéad Mooney and David Punter. The resulting intention here is to open up a fresh way of reading and comparing contemporary Irish playwrights,that allows us to place their work into sharper focus when it comes to comparing them to each other as pre-eminent Irish writers of the millennial period.

Gothic Studies
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Jane Eyre in Elizabeth Stoddard’s New England

oppositions convey to the reader the inner life and emotional responses of a passionate and unconventional heroine. Brontë and Stoddard both borrow from, and adapt, the romantic Gothic tradition of, for example, the British writer Ann Radcliffe’s Mysteries of Udolpho (1794). In addition, Stoddard anatomises the pathology of a repressive regional culture in a style known as provincial Gothic, used by American writers such as Nathaniel Hawthorne in his The House of the Seven Gables (1851). Such borrowings and negotiations between British and American traditions of the Gothic

in Special relationships
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first have appeared. Another way of establishing Fisher’s work (and particularly the horror films) as significantly British is through locating it in relation to an indigenous gothic tradition. Novels as diverse as Mary Shelley’s Frankenstein , Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde and Bram Stoker’s Dracula stand as the best-known testaments to an apparently innate

in Terence Fisher

becoming systematised as social fraternity develops. GEORGE ELIOT AND THE CONTRADICTIONS OF GOTHIC CONVENTIONS To position George Eliot within both a Gothic tradition and under queer investigation might seem surprising, irreverent or, at the very least, anachronistic. Gordon Haight fiercely stresses that George Henry Lewes’s love for Eliot ‘left no room

in Queering the Gothic

) Looking for Mother Gothic writing returns again and again to the image of the dead mother’s body. If the maternal body is a primal scene of transgression in a French Gothic tradition that can be mapped from Sade to Bataille, a maternal spectral presence has haunted Gothic writing by women from Radcliffe to Margaret Atwood. This displacement of the mother resonates with Luce Irigaray

in Decadent Daughters and Monstrous Mothers
Faustian bargains and gothic filigree

: Deader ) 3 Clive Barker's works frequently invoke fundamental elements in the gothic tradition. As both an author and artist, Barker enjoys crossing generic boundaries and expectations, borrowing, blending, and manipulating motifs of the gothic, the fantastique , the fairytale, and the quest narrative in order to

in Clive Barker
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The self-destroying Gothic villain in Pauline Hopkins’ Of One Blood

’ novel Of One Blood; or, the Hidden Self , originally serialised in Colored American Magazine , 1902–03 . Of One Blood is difficult to categorise, but many of its features – haunted houses, family secrets, ghosts and incest, just to name a few – indicate its place within the Gothic tradition. Several critics have remarked on its Gothic characteristics: Yogita Goyal describes the novel as having ‘a particularly Gothic twist’ 7 ; Eugenia DeLamotte notes that it is filled with ‘Gothic mysteries’ and provides ‘great Gothic insight’ 8

in Suicide and the Gothic