The Elephant Man, the Hysteric, the Indian and the Doctor

familiar from the account of Merrick. With Merrick a world of male Gothic terrors are displaced by a narrative of chivalry. In Treves’s account of the neurotic woman it is a Female Gothic narrative which is more properly developed. 11 This narrative, one focused on female resistance to images of incarceration, is developed through the narrator as she comes to perceive the failings of the masculine world

in Victorian demons
Open Access (free)
The cartographic consciousness of Irish gothic fiction

Romantic-era Irish literary gothic also emphasises the falsity of our assumption that contemporary English gothic literature almost universally deploys Catholic Continental locales. Far from anomalous in the British gothic output of his day, Melville's evocative depictions of local geography represent an established pattern that has been all too often dismissed. As Kilfeather has noted, ‘critical attention to the eighteenth-century female gothic novel has been so dominated by readings of Ann Radcliffe that Radcliffe's Italian and French settings have been defined as

in The gothic novel in Ireland, c. 1760–1829

and the recent recourse to reflections on corpo-reality and ‘bodies that matter’ (Butler 1993 ) lead the gender-oriented pursuit of gothicism to new dimensions. This study, as has been suggested, will shift the focus from novels written by women – female gothic – to women-centred novels – feminine gothic. This shift indicates a focus on the, necessarily gendered, subjectivity in the text

in Gothic Forms of Feminine Fictions
The rise of Nordic Gothic

protagonist. Here the conventions of Radcliffe's female Gothic and her damsels in distress are more elaborate and are twisted into an eerie story about a woman in pursuit of identity but victimised by her family and the history of her house. 16 When Gothic began to invade the new art form of cinema during the 1910s and 1920s, Nordic filmmakers were at the forefront with their visualisation of the ambiguous imagery of popular beliefs and Gothic atmosphere on the screen. Benjamin

in Nordic Gothic
Abstract only
History and the Gothic in the eighteenth century

would undergo significant revisions and be deployed for diverse ends. As this monograph points out, within the Gothic genre itself, there are numerous different strains, including Loyalist Gothic and Female Gothic. Still recognisable as works of Gothic fiction, such sub-categories express different attitudes towards history, have conflicting views on the genre’s themes and tropes and fiercely contest the meaning of

in Sinister histories
Re-examining paradigms of sibling incest

–sister relationships, but to understand several crucial things about the treatment of sibling love and how scholarship has traditionally treated it. Since the reclamation of the Female Gothic by feminist critics in the 1970s the genre has been delineated as articulating fears of domestic entrapment and patriarchal power. The incest thematic has primarily been theorised in such scholarship as a means of underscoring

in Gothic incest
American Gothic television in the 1960s

Productions Inc., 1966–71). Focusing on the representation of the home and extended family in these programmes, an analysis of the ways in which these texts expose prevalent anxieties in the 1960s around the instability of the familial unit and normative gender identities will be offered. The previous chapter, examining the female Gothic narrative on British television, discussed the congruence between the

in Gothic television
Journalism, Gothic London and the medical gaze

a political vision relating to race, sex, and class, became expressed. However, it is also relevant for the purpose of this inquiry to break down the Gothic into two distinct modes which highlight the role that gender plays in Gothic formations: the Male Gothic and the Female Gothic. The Male Gothic, with its literary roots in the Gothic of the 1790s, as in Matthew Lewis’s The Monk (1796), was

in Victorian demons
Open Access (free)
Location the Irish gothic novel

the more prolific individual woman novelist)’ from the 1780s onwards. 64 Representative of a newly democratised print culture wherein the production and accessibility of books was dramatically widened, these works underscore the literary gothic's importance to a new era of female writing. In their frequent evocation of the fraught realities of women's existence in a patriarchal society at the very moment that women began to enter the literary marketplace in serious numbers, these works embody the ‘female Gothic’ influentially identified by Ellen Moers. In other

in The gothic novel in Ireland, c. 1760–1829
Abstract only
Wilkie Collins’s ghosts

anxiety become closely related and in many respects it is the continuing presence of the Gothic which effects this destabilisation. Alison Milbank has explored in depth how Wilkie Collins’s novels rework many of the principal dramas of an earlier Female Gothic tradition. 7 This is a Gothic tradition which was as much theatrical as it was written and evidences how the popular stage melodrama informed the

in The ghost story, 1840–1920