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Embedded narrative and the treatment of boundaries in The Manuscript Found in Saragossa (1797-1815)
Ahlam Alaki

‘found’ manuscript is a standard Gothic motif in Radcliffe and Lewis, parodied by Jane Austen in Northanger Abbey. There is thus a definite structural connection between Potocki’s work and the English Gothic tradition between 1790 and 1820. Potocki seems to have come to the Gothic via his interest in orientalism. The biographical evidence concerning what Potocki had read is not conclusive but it is

in European Gothic
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Andrew Smith

explore ideas about life. The superficial revulsion to the corpse in this instance might seem to be Gothic, but in reality, as this book will explore, the dead often fail to signify in any crudely Gothic way. Poe’s preferred ending also implies that the Gothic is the space where metaphysical ideas can be explored. It is a highly self-conscious Gothic tradition that is explored here and it is argued that

in Gothic death 1740–1914
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Angela Carter and European Gothic
Rebecca Munford

Gothic aesthetic). Critics have tended to isolate specific texts or clusters of texts rather than explore Gothic patterns across Carter’s oeuvre. Linden Peach, for example, argues that Carter’s early work is influenced by a ‘Euro-American Gothictradition and is particularly indebted to some of the key features of American Gothic outlined by Leslie Fiedler in his seminal study Love and Death in the

in Decadent Daughters and Monstrous Mothers
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Enlightenment, automata, and the theatre of terror
Victor Sage

anticipator of de Sade in this respect (Praz, 1970 :99-100). This open, enquiring attitude, in its turn, is open to ironical exploitation by writers and readers alike, and is a contributory factorin the narrative shapes of the Gothic tradition: Christopher Frayling in Vampyres has exposed the rich theologico-political stew of motives which led to those ‘scientific’ journeys to the Levant and Bohemia under the

in European Gothic
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Darkness and suicide in the work of Patricia Highsmith
Fiona Peters

to the ways in which environment plays its part in creating the atmosphere and conditions conducive to the action that occurs. Aligned with that, the destabilising use of otherness through ‘outsiders’ stretches back at least to Agatha Christie’s Hercule Poirot. Themes regarding place that crime fiction plunders the Gothic tradition to utilise and expand include seeming ghosts, vampires, werewolves and other key stock of the Gothic tradition. As the Gothic genre itself twists these tropes and reinvents itself through time, so crime fiction picks up and plays with

in Suicide and the Gothic
Susanne Becker

. Subjectivity will be a central point of departure for the discussion of texts from the gothic tradition as well as from the Canadian postmodern; and the focus on a female subject rather than author allows for discussing a text like Henry James’s The Turn of the Screw ( 1897 ) alongside Charlotte Perkins Gilman’s The Yellow Wallpaper ( 1892

in Gothic Forms of Feminine Fictions
The rise of Nordic Gothic
Yvonne Leffler and Johan Höglund

There is a long non-realist tradition in Nordic literature and film that goes back to the Romantic period. This tradition frequently employs typical Gothic tropes, it seeks to evoke feelings of terror and horror, and it negotiates, as Gothic is understood to do, the complex tension between the human subject and Enlightenment modernity. Due to a striking reluctance by generations of Nordic literary critics and scholarship to recognise a Gothic tradition in the region, it was not until the late 1980s that the existence of Gothic fiction in the

in Nordic Gothic
Michel Faber’s ‘The Fahrenheit Twins’
Sue Zlosnik

Ellen Snodgrass characterises his 2002 neo-Victorian novel The Crimson Petal and the White , probably his best-known work, as subverting various conventions of the female gothic tradition. The short story ‘The Fahrenheit Twins’ provides a new twist to the parodic gothic of Angela Carter in her rewriting of European fairy stories, The Bloody Chamber ( 1979 ). Like Carter, Faber draws attention

in Globalgothic
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Mimicry, history, and laughter
Andrew Smith

Anglo-Irish Protestant Ascendancy (although one with a mixed Catholic and Protestant background), reconstructs Ireland’s past through a language of spectrality. Reading Ireland, writing the past: Le Fanu’s ghosts Sheridan Le Fanu’s place within a Gothic tradition has raised some complex issues for scholars working on Irish literary history, the cultural context of the

in The ghost story, 1840–1920
T.S. Eliot and Gothic hauntings in Waugh’s A Handful of Dust and Barnes’s Nightwood
Avril Horner and Sue Zlosnik

suggest, then, that the effect of Waugh’s borrowings from and debts to Eliot’s work is to foreground the Gothic strain within Eliot’s own writing. A Handful of Dust both lightly nods to the moment of high Modernism whilst pillaging the Gothic tradition for the appropriate tropes and motifs with which to represent the alienation inherent in the modern condition. Moreover, the Gothic element in Eliot’s poetry – which his critical silence in this respect obscures as an intellectual legacy – is made entirely evident in Waugh’s novel. A Handful of Dust, in making us conscious

in Special relationships