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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
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Phantoms, fantasy and uncanny flowers
Sue Edney

's and Garis's vegetal femmes fatales and cultural reaction to the politics of women's movements in Britain and America. These are the true monsters to be feared, according to an emerging twentieth-century androcentric orthodoxy of order and control. Flowers’ confinement in hothouses confirms their existence as both demanding and fragile, thus returning to earlier tropes of female Gothic imprisonment; however, Fitzpatrick argues that feminine plant ‘monsters’ fundamentally ‘challenge established hierarchies’ (Miller 2012 : 262) of gendered vegetal and more

in EcoGothic gardens in the long nineteenth century
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
Susanne Becker

one clue to the popularity of the female gothic at especially conservative times: the escape into the haunted house of the gothic text, which repeats but exceeds such daily structures. Jane Eyre contextualises early Victorian women’s lives: whether genteel but poor governess Jane Eyre, or passionate and rich wife Bertha Mason, or beautiful heiress

in Gothic Forms of Feminine Fictions
Susanne Becker

] these thirty years’ (501) writes Christabel as an old woman, after the love, the anger, the horror. The story of how she gives birth to her and Ash’s daughter in Brittany in emotionally disastrous circumstances is the most gothic episode of her life’s plot, reverberating with overtones of Moers’s female gothic ‘trauma of the afterbirth’ (1978, 119). Significantly, this almost

in Gothic Forms of Feminine Fictions
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Chris Bundock and Elizabeth Effinger

, sex and death. 81 In what Ellen Moers calls the ‘female gothic’, it is women's sexuality in particular that finds, through the genre, an opportunity for expression in the midst of a generally repressive culture. 82 Yet to what extent is the ostensible liberation of female desire reabsorbed by the masculine fantasies that drive so many Gothic plots? To what extent does momentary indulgence in macabre titillation serve

in William Blake's Gothic imagination
The Gothic body and the politics of décolletage
Catherine Spooner

. This is not an unvarying dynamic, but nevertheless continues as a persistent feature of the form throughout the eighteenth and nineteenth centuries. The respective focus on the psychology of the villain or the plight of the heroine has led some commentators to divide these texts into ‘male’ and ‘femaleGothic. 1 The female body, however, remains a contested ground in both, the site on which

in Fashioning Gothic bodies
French fiction and Djuna Barnes’s Nightwood
Avril Horner

: 490) and Ellen Moers defined it as ‘modern female Gothic’ in Literary Women (Moers 1976 : 108). In seeing Nightwood asa Gothic text, however, , these critics have remained exceptions. In part, this neglect of the novel’s Gothic elements may be due to the inclusion of Nightwood within the modernist canon: the early masculinist critical construction of modernism as a movement of ‘high

in European Gothic