of Object Made by Men (Contributions to the Psychology of Love
I)’, in On Sexuality , The Penguin Freud Library, vol.
VII, ed. Angela Richards and Albert Dickson (Harmondsworth: Penguin,
1991 ), pp. 227–42, p. 232.
I discuss some of these ideas specifically in
relation to the ‘femaleGothic’ in ‘Love, Freud
theory of repression, according to which adult identity is acquired, together with access
to language and the values of the symbolic order, at the cost of repressing all unacceptable elements, which form the unconscious. In women,
anger, sexuality and the urge to power are generally repressed.
Several feminist critics (Gilbert and Gubar, 1979; Jacobus, 1979,
Miller, 1981) have argued that ‘femalegothic’ – sensational plots and
monstrous characters – is the unconscious expression of women’s
repressed urge to power, which, denied social outlets, surfaces in the
acknowledge that, despite her self-reliance and
independence, she is still vulnerable in the contexts of her human
mortality, her lack of superhuman powers and her connection here to
the femaleGothic heroine, who is often described as
‘constantly threatened by emotional and physical
In addition to this example of vulnerability, Mina
Hopkins University Press).
P. (2012) Necromanticism: Travelling to Meet the Dead,
1750 – 1860 (Basingstoke: Palgrave Macmillan).
(2004) ‘“To live the life of hopeless
recollection”: Mourning and Melancholia in FemaleGothic,
1780–1800’, Gothic Studies , 6.1: 19–29.
Zigarovich, J. (2012) Writing Death and Absence in the
Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman
geometry perhaps). The cultural and
aesthetic dimensions of Candyman (and its relation to ‘The
Forbidden’) draw attention to moments of heightened emotion in the
text that clearly evoke the femaleGothic, the melodrama and the
romance. The aesthetics of Candyman – particularly in terms
of its overall atmosphere and the seductive eloquence of the monster
– taken together with a loosening of traditional
’ (ibid., p. 41).
Helene Meyers, Femicidal Fears: Narratives of
the FemaleGothic Experience (Albany: State University of
New York Press, 2001), p. 18.
Deborah Slicer, ‘The Body as
Bioregion’, in Michael P. Branch et al. (eds), Reading
(1987), The Journals of Mary Shelley , Oxford: Oxford
Heller, T. (1992), Dead Secrets: Wilkie
Collins and the FemaleGothic , New Haven, CT: Yale
Horton, S. R. (1995),
‘Were They Having Fun Yet
heritage text, which refuses the sanitation of
nostalgia. Both this series, and indeed other Gothic dramas discussed in
this book (such as the adaptations of femaleGothic literature discussed
in chapter three ), offer the viewer narratives of
fear and anxiety set in a past which is not only marked by a sense of
decay or dilapidation, but which is also disturbed by uncanny happenings
) references the Victorian
melodrama’s modes of Gothic performance. This episode, adapted
from Joseph Sheridan Le Fanu’s novel and broadcast in the same
season of Mystery and Imagination as ‘Dracula’,
centres on Maud Ruthyn (Lucy Fleming), a young woman left in the care of
her wicked and drug-addled uncle, Silas Ruthyn (Robert Eddison) when her
father dies. This narrative is thus typical of the femaleGothic