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Horror acting in the 1970s British television drama
Richard J. Hand

- plague of rats. In writing about female Gothic adaptations on television, Helen Wheatley describes ‘the threatening, cage-like, labyrinthine and, ultimately, un-homely domestic spaces’ (Wheatley, 2005 : 156) that are characteristic of her chosen genre. We can see that Thriller and some other examples of 1970s horror plays create a similar mood and function to their suspenseful drama, but target a socioeconomic place rather than a domestic space

in Genre and performance
Open Access (free)
Jane Eyre in Elizabeth Stoddard’s New England
Anne-Marie Ford

), displays the influence that Brontë had upon her writing. Both Brontë’s Jane Eyre (1847) and Stoddard’s The Morgesons are written in the first person, and both begin with the heroine as a child, before bringing her, at the age of eighteen, to her first sexual encounter. The heroine’s progress from beginning to end is given a psycho-social context by employing what has come to be known as female Gothic, a mode which expresses women’s sexual fantasies and fears, as well as their rage at male oppression, and is itself derived from the Gothic writings of late eighteenth

in Special relationships
The strength of chosen family in Elizabeth Gaskell’s Gothic short fiction
Ardel Haefele-Thomas

platform for her. In her essay, ‘Uncanny Stories: The Ghost as Female Gothic’, Diana Wallace claims that ‘the ghost story as a form has allowed women writers special kinds of freedom, not merely to include the fantastic and supernatural, but also to offer critiques of male power and sexuality which are often more radical than those in more realist genres’. 9 What haunts the

in Gothic kinship
Patricia Duncker’s The Deadly Space Between and The Civil Partnership Act
Anne Quéma

, Avril and Sue Zlosnik, ‘Keeping it in the family: incest and the female Gothic plot in du Maurier and Murdoch’, in Diana Wallace and Andrew Smith (eds), The Female Gothic: New Directions (Basingstoke: Palgrave Macmillan, 2009), pp. 115–32. Hughes, William, ‘“The taste of blood meant the end of aloneness”: vampires and gay men in Poppy Z. Brite’s Lost Souls ’, in William

in Gothic kinship
Neil Cornwell

’) and recur later in Dostoevsky’s The Landlady (Khoziaika). A not entirely dissimilar triangle occurs in Elena Gan’s Society’s Judgement (Sudsveta), of 1840 (English version in Andrew 1996 ); the proposition that the works of Gan (1814-42) include at least an element of ‘Female Gothic’ (a concept all but unrecognized in commentaries on Russian literature of the

in European Gothic
Abstract only
Susanne Becker

the female gothic’s exploration of female sexuality ( 1983 , 15); Kahane’s reading focuses on the mother-figure as ‘spectral presence, ... a ghost signifying the problematics of femininity which the heroine must confront’ ( 1980 , 336). Such readings often use the physical dimension of the house metaphor: ‘The heroine’s exploration of entrapment in a Gothic

in Gothic Forms of Feminine Fictions
Charles Bonnet and William Blake’s illustrations to Robert Blair’s The Grave (1808)
Sibylle Erle

used the words ‘familiar and domestic’ to describe Blair’s poetry and ever since Ellen Moers’s Literary Women (1976) we can defer to the term Female Gothic, but did Fuseli think that ‘Death of the Strong Wicked Man’ captured loss and mourning as well as fears of entrapment caused by a socioeconomic change? If the answer is yes, then by his definition, the women – not the

in The Gothic and death
Michel Faber’s ‘The Fahrenheit Twins’
Sue Zlosnik

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
Alice Munro and Lives of Girls and Women
Susanne Becker

Munro’s neo-gothicism also rewrites gothic texture: as narrative of a female subject’s growing up through childhood and adolescence. Fredericke van Leeuwen’s humanist/feminist discussion of the ‘Female Gothic’ maintains that often ‘the Gothic mode [is used] to reveal, in an indirect and grotesque way, the female condition’ ( 1982 , 43). She sees the form as ‘discourse of the

in Gothic Forms of Feminine Fictions
Margaret Atwood and Lady Oracle
Susanne Becker

marginalised – feminine – form, a form with a strong web of filliation. It thus draws attention to this phenomenon in the same way as does Ellen Moers’s chapter ‘Female Gothic’ in Literary Women , which appeared in the same year as Atwood’s novel: 1976. Critics have been quick to read Lady Oracle as a parody (e.g., Sandler 1977 , 157; McMillan

in Gothic Forms of Feminine Fictions