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To Kill a Mockingbird as neglected intertext
Robin Fiddian

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
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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
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National cinema and unstable genres
Valentina Vitali

published, significantly, by Gordon Fraser, a publisher who specialised in offbeat topics. Five years on (in 1978), Roy Armes wrote a damning and dismissing profile of Fisher’s work in his A Critical History of British Cinema: Central to an evaluation of Hammer Films is the status of Terence Fisher … There are, as Pirie points out, links with the Gothic tradition in that the films are ‘peopled with key literary characters of another epoch …’ [(Pirie 1973: 166)]. But the relevance of such figures to the audiences of the twentieth century … is not altogether apparent, since

in Capital and popular cinema
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
Nordic Gothic and colonialism
Johan Höglund

. This long colonial history has given rise to the aforementioned postcolonial Gothic tradition that emerges along with postcolonial writing in other parts of the world. Just like the non-Gothic, postcolonial novel, this Gothic novel is written in an effort to respond to a long tradition of colonial writing seemingly designed to lend support to the gendered and racial categories that informed and stimulated colonialism. To this particular tradition belongs Icelandic author Halldór Laxness’ extraordinary, absurd and at times Gothic Kristnihald undir Jökli

in Nordic Gothic
Aritha van Herk and No Fixed Address
Susanne Becker

Kroetsch’s) sense of ‘death [as] a happy ending ... the one ending we know but cannot know, the loveliest of endings because it is utterly imaginary and mysterious’ (van Herk 1991 , 194). Arachne has, in best gothic tradition, given up her body for dead: ‘I died, she thinks. I’m dead’ (285); ‘She had been back to Vancouver and died there, one of her lives certainly over’ (301

in Gothic Forms of Feminine Fictions
Or, Here we go round the upas tree
W. J. McCormack

credentials, its Stygian setting needs no gothic tradition. With the political crisis of 1880-91, a new fractured and spectral ‘class’ came to monopolise the term ‘Anglo-Irish’. By this exercise in ethnogenesis another item is added to the crane-bag of Irish cultures, traditions and tribes. Ulster Unionism, and with it a new sense of political

in Dissolute characters