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Gothic kinship in Stephen King’s Pet Sematary
John Sears

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
Joan Curbet

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
Andrew Smith

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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Chris Bundock and Elizabeth Effinger

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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Susanne Becker

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
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Avril Horner

France. This suggests that a work of immense importance within the European Gothic tradition has been overshadowed, perhaps, by the excessive critical attention given to Walpole’s The Castle of Otranto. There also emerges a keen understanding of how the dual dynamic of abjection/projection works in the construction of conflicting European identities. This is very evident, of course, in the Gothic

in European Gothic
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David Annwn Jones

Gothic has a way of wrongfooting the most sympathetic and perceptive of critics. In rounding off an essay in 1997 , Anne Williams wrote: ‘And yet, I would speculate that the Gothic tradition may at last be coming to a close […] Nowadays it seems that the popular vocabulary most likely to appeal to the serious artist is that of science fiction: not Montoni, one’s wicked uncle by marriage’ (Williams

in Gothic effigy
The American Gothic journeys of Jack Kerouac, Cormac McCarthy and Jim Crace
Andrew Smith

renewal. In this way these texts represents a new elaboration of a definitively male American Gothic tradition. The three texts On the Road, The Road and The Pesthouse are structurally very similar as they all involve journeys across blighted landscapes in search of meaning. There is no sustained explanation for why these landscapes have been blighted in such ways and as such there is no

in Ecogothic
Julieann Ulin

Torlogh O’Brien: A Tale of the Wars of King James (1847) and the later The House by the Church-Yard (1863), works which explore seventeenth- and eighteenth-century Irish history. For critics such as W. J. McCormack, this period defines the limit of Le Fanu’s historical interest in Ireland’s past: ‘One further feature of this oft-remarked Irish gothic tradition which distinguishes it from the

in Open Graves, Open Minds
Andrew Smith

quite grasped. The role of the uncanny helps to draw out these complexities. In particular, an exploration of how James implicitly claims that uncanniness is central to the history of the Gothic helps us to appreciate that far from bringing the Gothic to an end he is attempting to revive an earlier, eighteenth-century, Gothic tradition. My argument is that this Gothic revival in privileged, often Oxbridge

in The ghost story, 1840–1920