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Joel T. Terranova

Published in 1795, John Palmer, Jun.’s The Haunted Cavern: A Caledonian Tale is a historical Gothic romance that expresses certain unease with the growth of British imperialism at the end of the eighteenth century. In this text, Palmer explores the impact of empire on the colonialized other as well as demonstrating the hypocrisy and abuse of certain imperial practices. With the plot set during the end of the War of the Roses, The Haunted Cavern juxtaposes medieval England as the imperial power with France and Scotland illustrated as the colonialized victims. This article examines the tension towards empire found in The Haunted Cavern which helps clarify the commercialized Gothic romance’s function as a subversive medium towards colonialism.

Gothic Studies
Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison

simultaneously signifying, allegorically, Scotland’s imperialist history. Poor Things exposes the monstrously destructive nature of British patriarchy on women’s lives. This ideology is also revealed to be fundamental to British imperialism: both are grounded in hierarchy and classification. Bella is introduced to the tenets of imperialism during the course of her Tour both by Dr Hooker, who expounds his theory on Anglo-Saxon superiority (139–141), and by Mr Astley, who justifies British warfare as a type of civilising mission (141). The latter

in Adapting Frankenstein
John Cameron Hartley

This chapter examines the ‘Lost World’ genre, a staple of late-Victorian popular fiction, exemplified by H. Rider Haggard’s stories featuring Allan Quatermain, and Ayesha, known as She-Who-Must-Be-Obeyed. These fin-de-siècle tales, while ostensibly celebrating British Imperialism and the continuation of colonial power, reveal layers of anxiety concerning degeneration, the collapse of civilisation, the rise of the Victorian ‘new woman’, and perhaps most potently the fear of death. Canadian writer James De Mille, in his book A Strange Manuscript Found in a Copper Cylinder, inverted Victorian values to satirise the capitalist economy, and the glorification of war, by creating the Lost World of the Kosekin where wealth is a burden and death worshipped. The presentation of the Lost World as a Gothic Space allows for a critical examination of the way that Victorian cultural certainties were challenged, by divergent belief systems, and the mystery and terror of death.

in The Gothic and death
The Gothic, death, and modernity
Carol Margaret Davison

may be surprised to see, in various nineteenth-century naturalist works, the traces of Anglo-American Gothic influence. Part IV concludes in India ( Chapter 12 ) where, in a nation decidedly marked by British imperialism yet utterly distinct in its cultural, theological, and philosophical contexts, a cinematic flirtation with the Gothic is not only discernible but strategically manipulated. In ‘A

in The Gothic and death
Savage vibrations in ghost stories and D. H. Lawrence’s Kangaroo
Shelley Trower

contributed to the colonisation of other parts of the world, while Cornwall itself was ‘colonised’ by tourists and settlers attracted to a romanticised Cornwall. Cornwall, like Scotland, played an active part in British imperialism even though it also appeared to have some characteristics of a colony. 7 This chapter therefore considers a sense of the uncanny that is to some extent particular to how visitors have perceived

in Rocks of nation
Situating The Beetle within the fin-de-siècle fiction of Gothic Egypt
Ailise Bulfin

imputed to the Ancient Egyptians and much more with the contemporary geopolitics of North African resistance to British imperialism’.51 The conclusion of The Beetle reveals a web of associations between significant Sudanese locations and the demonic Isis cult: an adherent is described as ‘a member of a tribe which had its habitat on the banks of the White Nile’, evoking the tribal followers of Mahdism who inhabited that region; a captive of the cult is found ‘in a state of indescribable mutilation’ ‘in some remote spot in the Wady Halfa desert’; and British troops

in Richard Marsh, popular fiction and literary culture, 1890–1915
Storytelling and theatricality in adaptations of the life of Joseph Merrick
Benjamin Poore

‘the racial and sexual dimensions of British imperialism’ (Holladay and Watt, 1989 : 876. Pomerance was living in the UK at the time, and the play was first produced by his former theatre company, Foco Novo). Thus, there is an element of historical contingency to both play and film: this was the play that happened to be seen by the actor Philip Anglim in London and taken on as a personal project to Broadway; this was the film that happened to get financed because the producer, Mel Brooks, saw and loved Lynch

in Interventions
Trembling rocks in sensation fiction and empire Gothic
Shelley Trower

. 53 As described by Brantlinger for example, p. 230. 54 See, for example, David Glover, Vampires, Mummies, and Liberals: Bram Stoker and the Politics of Popular Fiction (Durham, NC: Duke University Press, 1996 ) and Catherine Wynne, The Colonial Conan Doyle: British Imperialism, Irish

in Rocks of nation
Abstract only
Marie Mulvey-Roberts

importantly, that even if he did, he did not take any substantial influence specifically therefrom’ (p. 155). But it was precisely these anti-Russian sentiments and their embodiment in the figure of Captain Vampire that would have attracted Stoker to Nizet’s novel, at a time when Russia was posing a threat to British imperialism. As war between the two countries loomed, the writer T. Pearce described

in Dangerous bodies