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
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
Christabel, The Eve of St Agnes and Lamia
Robert Miles

-century sublime, which is based on God’s terrifying presence, but of the Gothic sublime, which works on the principle of repressed presence. Lamia also turns the female Gothic sublime around. Here the moment of ‘terror’, (II, 1. 268) and hence the sublime, is based, not on woman discovering herself as object, but men discovering their treatment of woman as object. Lycius belatedly recognizes that admitting

in Gothic writing 1750–1820
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
Abstract only
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
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
Towards an American ecofeminist Gothic
Emily Carr

Gothic. We know canons are essentially literary institutions or social contracts that create specific publics for particular texts. And yet we continue to produce our scholarship according to the dictates of the popular and the long-lived. We might, for example, expand the scope of our conversations about the female Gothic to include contemporary women writers but we’re all still talking about the same

in Ecogothic
Angela Carter’s re-writing women’s fatal scripts from Poe and Lovecraft
Marie Mulvey-Roberts

, 2015). Carter’s Gothic and horror have been increasingly widely explored, often in response to ‘The Company of Wolves’ (Crofts, 1998), difficulties re-writing the fairy tales (Duncker, 1984) and in considering the female Gothic body (MulveyRoberts, 2016). It emerged as a popular theme in the recent Angela Carter conference organized by Marie Mulvey-Roberts and Charlotte Crofts in Bristol, where Carter studied and lived (2017). Carter’s earthiness and ridicule, which undermine without ever underestimating the perversity, violence and accompanying terror wielded by

in The arts of Angela Carter
Representations of the past in Clara Reeve’s The Old English Baron (1778)
Jonathan Dent

code of manliness: benevolent, courageous and respectful towards women, Edmund and Harclay are historical figures that Reeve presents as role models for men in the eighteenth century. However, as this chapter has suggested, women have a rather marginal role in the narrative and there is little emphasis on female subjectivity. If the ‘Female Gothic’ is defined as a form of fiction that focuses on the

in Sinister histories
Open Access (free)
Romances, novels, and the classifications of Irish Romantic fiction
Christina Morin

tale. 70 Owenson's later fictions – national tales and otherwise – have tended to lend themselves more readily to analysis as gothic hybrids. Gary Kelly, for instance, classifies The missionary (1811) as gothic, including it in the six-volume Varieties of female gothic (2002), while Jim Kelly reads Florence MacCarthy (1818) as ‘demonstrat[ing] … [that] the Irish landscape and the visible scars of conflict provided a Gothic text in its own right’. 71 W.J. McCormack, for his part, includes excerpts of The O'Briens and the O'Flahertys (1827) in his influential

in The gothic novel in Ireland, c. 1760–1829