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Susanne Becker

/or focalisation – occurs through one or several characters whose identity is disrupted 1 and whose limited perception effects the typical gothic distortions and ‘excesses’. Two critical positions are interesting here: Barbara Godard uses the term ‘decomposition of the persona’ to characterise this complicated gothic subject, because it ‘places the emphasis on deconstruction, rather than

in Gothic Forms of Feminine Fictions
Situating The Beetle within the fin-de-siècle fiction of Gothic Egypt
Ailise Bulfin

Seven Stars. Though Marjorie escapes the ultimate fate of the daughter in Stoker’s tale, her encounter with the Beetle shatters her sanity for years to come and echoes the threat to the young girl in ‘The curse of Vasartas’. This gendered logic points relentlessly to the fatal consequences of British appropriation of Egyptian sovereignty, with the offended Egyptian entities attempting in turn to dispossess the male trespassers of the women who are their most precious belongings. The theme of rightful and contested property ownership permeates the Gothic Egyptian genre

in Richard Marsh, popular fiction and literary culture, 1890–1915
Facing the apocalypse in Watchmen
Christian W. Schneider

comics tradition that replaces the superhero genre in Moore’s uchronia. This resurgence of the horror comics – in the form of a narrative whose shipwrecked protagonist survives by building a raft from the bodies of his dead shipmates – represents an agonistic contest between traditions that is reflected in Watchmen ’s own relationship with its precursors, an intertextual

in Alan Moore and the Gothic Tradition
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Elisabeth Bronfen and Beate Neumeier

boundaries of an individual’s identity, opening up to the truth to be found in visions, hallucinations, and madness, or to the desires released when the cultured subject no longer represses her or his allegedly barbaric instincts. What the Gothic puts on display is, then, a shift from the strictly codified public life to an inner world at once liberating and imprisoning in its privileging of subjective

in Gothic Renaissance
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‘The world of things’: an introduction to mid- century gothic
Lisa Mullen

-facing designs made an awkward frame for jingoistic celebrations of past heroic endeavour; modern art and technological utopianism bumped uneasily against whimsical displays of moth-eaten eccentricity and colourful kitsch. This midsummer dream-park was supposed to consolidate British post-war identity and potential, but its jumble of ambiguity and contradiction instead opened up uncomfortable dialogues with the grimy and battered infrastructure of real-life London. The idea of a clean articulation of the past and the future only served to highlight the disorderly and

in Mid-century gothic
Sherlock Holmes, Count Dracula and London
Andrew Smith

writing on the city is freighted with ideas about gender, so that the city itself becomes figured as a space which possesses often conflicting gender identities. These early and mid-nineteenth century narratives also provide a conceptualisation of the city which underpins Doyle’s and Stoker’s versions of the city at the fin de siècle. To this end I will explore Thomas De Quincey’s nightmares of

in Victorian demons
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Angela Carter and European Gothic
Rebecca Munford

’ ( 1985 ) and Nights at the Circus ( 1984 ) as exemplars of postmodernist parody (see Bacchilega 1997 ; Hutcheon 1989 ). 3 Certainly, Carter’s writing deploys techniques of parody, citation and appropriation that resemble postmodernist tools of deconstruction; it also engages in a relentless interrogation of essentialist definitions of gender and sexuality that calls into question Enlightenment notions of identity and the

in Decadent Daughters and Monstrous Mothers
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‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

. 38 See Price, ‘Ancient liberties?’, and Watt, Contesting the gothic . 39 Price, ‘Ancient liberties?’, p. 23. 40 Toni Wein, British identities, heroic nationalisms, and the gothic novel, 1764–1824 (Basingstoke and New York: Palgrave Macmillan, 2002

in The gothic novel in Ireland, c. 1760–1829
Jonathan Bignell and Stephen Lacey

This book aims to provide resources for critical thinking about key aspects of television drama in Britain since 1960, including institutional, textual, cultural and audience-centred modes of study. It comprises original essays on aspects of British television drama which our contributors believe have not yet been adequately theorised or researched in existing scholarship. The book presents and contests significant strands of critical work in television drama studies, using case study examples to show how critical approaches are in dialogue with specific

in Popular television drama
The Albigenses as historical novel
Christina Morin

–8) This evangelical identity deliberately highlights the Albigenses’ understanding of themselves as God’s chosen people, much like the Israelites of the Old Testament and, closer to home, the Anglo-Irish community in Ireland. An illustrative example: Boanerges, doing justice to his name, delivers a fiery oratory to the Bishop of Toulouse in which he deploys Old Testament imagery to depict the contest

in Charles Robert Maturin and the haunting of Irish Romantic fiction