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Michel Faber’s ‘The Fahrenheit Twins’

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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response rather than formal unity takes us closer to the larger gothic tradition that is of interest in the present study. Critiquing, parodying, and otherwise interrogating realism and its precursor, verisimilitude, is a well-established feature of the gothic from its very beginnings: discussing the first gothic novel, published in 1764 by Horace Walpole, David B. Morris argues, “In its marvels and

in Men with stakes
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Mimicry, history, and laughter

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

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
Gothic kinship in Stephen King’s Pet Sematary

sometimes swallow the fetus of the other in utero ’ (177). At another, intertextual level, critics have also explored the ways Pet Sematary (typically of King’s writing, in which such intertextuality is an ‘open secret’) reworks and extends a parentage that resides in key texts from the Gothic tradition, like ‘The Monkey’s Paw’ (which is mentioned in King’s novel: 226) and Mary Shelley

in Gothic kinship
Representations of ritual violence in English and Spanish Romanticism

religious ritualism that is offered by British authors writing about Spain with the representation of this phenomenon in Spanish culture. I hope that the following analysis will allow us to understand more clearly the thematic signficance of Catholic ritual violence within the Gothic tradition, and also enable us to reach some conclusions as to why the contribution of Spanish culture to this tradition was so scant

in European Gothic
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Wilkie Collins’s ghosts

Wilkie Collins’s sensation fiction drew upon a Gothic tradition, although he did not share Dickens’s fascination with the ghost story. However, Collins did leave behind a variety of ghost tales which in their own way indicate an interest in how the form could be innovated. 1 Collins’s most sustained attempt at a ghost story is his late novella The Haunted Hotel (1878

in The ghost story, 1840–1920
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one million words in length. This ‘strange beast’, as Moore describes it, not only shares its namesake with Blake's magnum opus , but, like so much of his work, draws on the Gothic tradition. 3 As David Punter observes, Moore's work is ‘a tissue of referentiality, taking us back to Blake, Nietzsche and the Gothic and romantic traditions’. 4 Beyond the page, Blake's Gothicism proliferates in film

in William Blake's Gothic imagination
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texts deal with the feminine ideal by putting the female subject in relation to what has become the most famous female figure of the gothic tradition: the monstrous-feminine. This way gothicism highlights the devastating effects of the Woman/women opposition that Toril Moi has outlined in these terms: Patriarchal oppression consists of

in Gothic Forms of Feminine Fictions
To Kill a Mockingbird as neglected intertext

from the Bildungsroman and the Gothic traditions in To Kill a Mockingbird resonates very clearly with the story of Ana in The Spirit of the Beehive. In both films a little girl embarks on a process of growing up and learns about good and evil – symbolised by the poisonous mushroom in Erice’s film and by the figure of Bob Ewell in To Kill a Mockingbird. Taking a cue from one or more references to a monster – Dracula

in Spanish cinema 1973–2010