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Haggard, Stoker and Wilde
Andrew Smith

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. 12 I discuss some of these ideas specifically in relation to the ‘female Gothic’ in ‘Love, Freud

in Gothic death 1740–1914
The Story So Far and Some New Suggestions
Patsy Stoneman

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 ‘female gothic’ – sensational plots and monstrous characters – is the unconscious expression of women’s repressed urge to power, which, denied social outlets, surfaces in the form of

in Elizabeth Gaskell
Subverting the Gothic heroine?
Laura Hilton

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 female Gothic heroine, who is often described as ‘constantly threatened by emotional and physical assault’. 31 In addition to this example of vulnerability, Mina

in Alan Moore and the Gothic Tradition
The Gothic, death, and modernity
Carol Margaret Davison

Hopkins University Press). Westover, P. (2012) Necromanticism: Travelling to Meet the Dead, 1750 – 1860 (Basingstoke: Palgrave Macmillan). Wright, A. (2004) ‘“To live the life of hopeless recollection”: Mourning and Melancholia in Female Gothic, 1780–1800’, Gothic Studies , 6.1: 19–29. Zigarovich, J. (2012) Writing Death and Absence in the

in The Gothic and death
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Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman
Brigid Cherry

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 female Gothic, 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

in Monstrous adaptations
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Exploring sites of the Canadian ecoGothic
Alanna F. Bondar

’ (ibid., p. 41). 27 Helene Meyers, Femicidal Fears: Narratives of the Female Gothic Experience (Albany: State University of New York Press, 2001), p. 18. 28 Deborah Slicer, ‘The Body as Bioregion’, in Michael P. Branch et al. (eds), Reading

in Ecogothic
Laurence Talairach-Vielmas

) (1987), The Journals of Mary Shelley , Oxford: Oxford University Press. Heller, T. (1992), Dead Secrets: Wilkie Collins and the Female Gothic , New Haven, CT: Yale University Press. Horton, S. R. (1995), ‘Were They Having Fun Yet

in Monstrous media/spectral subjects
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Horror now and then
Fred Botting

Gothic, Female Gothic ... Queer Gothic, Imperial Gothic, Postcolonial Gothic ... Scottish, Irish, Welsh Gothic, Gothic bodies, Gothic technologies, Gothic culture, digital Gothic ... Southern Gothic, American Gothic, Indiana Gothic, Minnesota Gothic, The American Gothic Cookbook . Gothic proliferations in culture and criticism are typically hybrid, thoroughly monstrous and co-dependently vampiric

in Limits of horror
The ghost story on British television
Helen Wheatley

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 female Gothic 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 and supernatural

in Gothic television
The heritage of horror on British television
Helen Wheatley

) 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 female Gothic

in Gothic television