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writer’s own creative power. With the dead poetess as muse come into being again, Sarton can establish another form of identity between herself and Woolf – ‘I speak to you and meet my own life.’ Her poetic gift to Woolf is a conflation of past, present and future: ‘I send you love forward into the past

in Over her dead body
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The politics of disease

one given that the notion of gender was, as we saw in Chapter 1 , contested at the time. Although this contestation appeared to challenge what was understood as ‘feminine’, such debate also critically reflected on the ‘masculine’ (an idea which is particularly relevant given that the medical profession at the time was largely a male, middle class, profession). Spongberg comments: ‘debates about venereal disease in the

in Victorian demons
The demonic adoptee in The Bad Seed (1954)

identity with. One also had to be in favour of certain things in order to effectively combat communism. The affirmative side of containment policy assumed the shape of Cold War Orientalism, that was effectively propagated by post-war popular culture, as becomes evident from a whole spate of novels, musicals and movies about Americans in Asia, such as the Asian trilogy 15 by Richard Rodgers and Oscar

in Gothic kinship
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The life and works

, the abandonment of his nom de plume exposed Maturin’s hitherto concealed identity as a dramatist and novelist. While Maturin’s ecclesiastical superiors evidently already had their suspicions about his literary activities, and his position within the Church seems to have been rather precarious from the start, this revelation irrevocably destroyed Maturin’s hopes for further patronage and

in Charles Robert Maturin and the haunting of Irish Romantic fiction
Women, domesticity and the female Gothic adaptation on television

identities of the central protagonist, DCI Jane Tennison (Helen Mirren), the murder victims she investigates throughout the course of the narrative(s), and the viewer of the drama who watches her do so. In both of the above cases, the question of genre – and the representation of femininity within particular genres – is tied to the notion of gendered forms of viewing via practices and positions which are then either examined empirically (through audience study) or located in an examination of text and context and their address to an assumed female viewer. The analysis

in Popular television drama
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Defining the ecoGothic

than that encountered by Bate, who argues that Wordsworth’s pastoral extols a life free from the dictates of capitalism which means ( pace Coleridge) that ‘pastoral life begets republicanism’, due to its comparative political and economic freedoms. 2 The problem with the Gothic is that, at one level, ‘nature’ is a more contested term as it is one which (at least in its

in Ecogothic
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, Interview with the Vampire (1976), is essentially about Louis trying to come to terms with his new identity – Louis’s suicide attempt does not come until Merrick (2000), the seventh book in the series. Here, unable to resist the seductions of the eponymous Merrick, a powerful and attractive witch, he repeats the mistake he believes he made with Claudia – a young girl vampirised by Lestat and ‘turned’ by Louis in Interview – and transforms Merrick into a vampire. Having been manipulated by Merrick into betraying his principles, such as they are, Louis’s intense guilt

in Suicide and the Gothic
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

readers’ eyes cross the colon to the subtitle, a qualifying term that confirms that Richard Marsh has, as in his Egyptian Gothic tale The Beetle (1897), again named his work after an evil creature of indeterminate identity. The bipartite title intrigues, and its indeterminacy structures the text: the Goddess in question is seen only through vague impressions until she is literally dissected at the end of the novel, when the narrator reveals that she is, despite her seemingly supernatural characteristics, an automaton. This chapter explores the significance of the

in Richard Marsh, popular fiction and literary culture, 1890–1915
Nightmares, conscience and the ‘Gothic’ self in Richard III
Elisabeth Bronfen and Beate Neumeier

well aware of). Particularly, the idea of interpretation as such is a constant that has been contested but hardly definitively dismissed; for a polemic on the topic, see Hobson, especially 15–31. 5 With few exceptions, the research on early modern dream theory is a fairly new field. Anthologies and

in Gothic Renaissance