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. In the next two chapters I will explore the use of the double as an uncanny allusion marker which draws attention to a text’s status as an act of repetition, to its own ‘doubling’ of its source material. The first of these paired chapters focuses on nineteenth-century texts, tracing the development of the uncanny double from the Romantic Gothic tradition through to the Victorian sensation novels of

in A familiar compound ghost
Political violence in the fiction of William Trevor

, is the long history of Irish struggle against England, a struggle in which Marianne sees Anglo-Irish Willie (and later herself) as being on the side of the Irish. From her somewhat distanced English perspective, Marianne articulates her sense of colonial consequences, describing a kind of original sin from which the misery of the present has flowed: ‘We will never escape the shadows of destruction that pervade Kilneagh’. Kilneagh is ‘like some uncharted region, fearsome and unknown’ (FF 124), turned into a version of the haunted house of Gothic tradition. In a

in William Trevor
‘Transformational objects’ and the Gothic fiction of Richard Marsh

the Gothic fiction of Marsh Conclusion Marsh’s three novels belong to a Gothic tradition stretching back to Walpole’s The Castle of Otranto that identifies objects as sites of insecurity and threat. However, Marsh’s work differs from this tradition not only in his depiction of mutual transformation between individuals and objects, in which the form of the object is sponsored by an aspect of the individual as much as his/her selfhood is transformed by the object, but also and more profoundly in the de-structuring capacities of his objects. While mutual

in Richard Marsh, popular fiction and literary culture, 1890–1915
Reconceptualising British landscapes through the lens of children’s cinema

cover a lot more of the British Isles, with much of the series shot on location in Scotland and the north of England. This again links the films to Gothic traditions, since the wild inhospitality necessary for the expounding of Gothic themes British landscapes through the lens of children's cinema 141 is not so readily available in the more populated south of the country. Neither the books nor the films specify the exact location of Hogwarts School, a geographical evasion that in itself has Gothic antecedents, as Wright notes in her study of ‘Scottish Gothic

in British rural landscapes on film
The case of Blood on Satan’s Claw

10 Folk horror and the contemporary cult of British rural landscape: the case of Blood on Satan’s Claw Paul Newland It’s in the trees! It’s coming! The Night of the Demon (1957); ‘Hounds of Love’, Kate Bush (1985) British rural landscapes have long operated as imaginative spaces in which horrific, ghostly or uncanny narratives unfold. One need think no further than the Gothic tradition in literature –​for example, representations of dark, menacing rural landscapes feature from Horace Walpole’s novel The Castle of Otranto (1763) through Mary Shelley

in British rural landscapes on film
La Belle captive

mark of sexualised violence. As in Glissements , the bloodsucking vampire theme and its related motif of the undead can clearly be linked to an unconscious desire to control both death and an ancient fear of the dead who may return to infect us with their deathly condition. 29 La Belle captive is probably the film of Robbe-Grillet’s that draws most explicitly on a Gothic tradition that can be seen to have its roots in ancient

in Alain Robbe-Grillet

like to add, like one of the many ‘lost mothers’ and ‘other women’ from the gothic tradition. Her life-story is gradually pieced together through her poetry, her letters to Ash, his letters to her, Ash’s wife’s diary, her reading of LaMotte’s gothic Fairy Melusina , her French cousin Sabine’s writing exercises, the contemporary feminist criticism of her work – and, most

in Gothic Forms of Feminine Fictions

worldwide; both satisfied dominant critical expectations by working within culturally ‘respectable’ gothic traditions and both have become assimilated into the ranks of ‘serious’ cinema, opening up spaces for other such works to do likewise (2004: 248–9). In other words, Hispanic horror has achieved significant mainstream distribution by going upmarket and appealing to more middlebrow audiences, while also catering to

in Alejandro Amenábar
Stoker, Coppola and the ‘new vampire’ film

critics such as Stephen D. Arata, Stoker’s Dracula clearly represents ‘a break from the Gothic tradition of vampires’, transforming elements of the vampire myth and ‘making them bear the weight of the culture’s fears over its declining status’. 6 For Conrad Aquilina, the Romantic, Byronic legacy that has informed the literary vampire is periodically interrupted through writers such as Stoker

in Open Graves, Open Minds
Patricia Duncker’s The Deadly Space Between and The Civil Partnership Act

phantasm and perception, chaos and normative scripts, alertness and hallucination. 33 From this point onward, the paranoid plot of Gothic tradition leaps into action, and the uncanny iceworld ceases to operate as a potential site of transformation. Toby and Iso are fleeing from Roehm whose apparitions at the casino, in the ski lift and on the glacier vampirize their mental energy. The initial attraction

in Gothic kinship