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Dorian Grayand the Gothic body
Elisabeth Bronfen and Beate Neumeier

The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass

in Gothic Renaissance
Racial Discourse in Mary Shelley‘s Frankenstein
Allan Lloyd Smith

This article examines the effects of early anthropological accounts of other races in producing tropes for monstrosity in the Gothic, such as we see in Frankenstein where the monster, although not of any known race since he is hybridly created from parts of dead bodies, shares features with popular accounts of the racially other, echoes Haitian slave rebellion violence in his responses to ill treatment, and achieves his literacy and independence in the manner of popular slave narratives. Gothic tropes were sometimes employed in anti-slavery narratives such as Uncle Tom‘s Cabin, and many of the descriptions of brutality and terror in realist slave narratives are properly to be considered Gothic (and may in fact borrow from gothic fictional techniques). Slavery itself could be argued to outdo the Gothic in its actuality, as well as serving as a source for gothic fantasy. This provokes a rethinking of the now conventional assumption that Frankenstein‘s acknowledgement of responsibility for his creature implies that it does his unconscious bidding; on the contrary, Frankenstein admits his responsibility as a slaveholder might for the actions of his slave, but without in any way endorsing them.

Gothic Studies
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A reassessment

This collection of essays by scholars in Renaissance and Gothic studies traces the lines of connection between Gothic sensibilities and the discursive network of the English Renaissance. The essays explore three interrelated issues: 1. Early modern texts trouble hegemonic order by pitting the irrational against the rational, femininity against patriarchal authority, bestiality against the human, insurgency against authoritative rulership, and ghostly visitation against the world of the living. As such they anticipate the destabilization of categories to flourish in the Gothic period. 2. The Gothic modes anticipated by early modern texts serve to affect the audience (and readers) not only intellectually, but above all viscerally. 3. The Renaissance period can be seen as the site of emergence for the Gothic sensibility of the 18th century as it cultivated an ambivalence regarding the incursion of the supernatural into the ordinary.

Forbidden Planet, Frankenstein, and the atomic age
Dennis R. Perry

Ferdinand, and Morbius’ monster as a psychologically spawned Caliban. It’s a nice fit: science stands in for magic during a time of atomic paranoia and concerns about the dangers of technology. Rick Worland and David Slayden, however, go against this interpretive grain, suggesting that The Tempest is more an ‘interpretive red herring’ than a relevant source. They argue that the story of Adam and Eve cast out of Eden is thematically more to the point (142). Judith Buchanan, on the other hand, reminds us that early reviews linked the film first with either King Kong

in Adapting Frankenstein
The metafictional meanings of lycanthropic transformations in Doctor Who
Ivan Phillips

, hairy Anti-Man, Professor Sorenson of ‘Planet of Evil’ (1975) shares numerous features with the classic cinematic werewolf (burning eyes, coarse grey hair, fangs, claws, hunched back and loping walk) but he is also a version of the Id creature from Forbidden Planet (1958) – itself, of course, a version of Shakespeare's wild-man from The Tempest , Caliban. Clearly, the Sorenson/Anti-Man monster is most explicitly a rendering of the Jekyll/Hyde character, especially as it has been realised in successive film adaptations of Robert Louis Stevenson's 1886 novella

in In the company of wolves
Responsibility and obedience in I, Robot and X-Men: First Class
Matt Lorenz

world. Conclusion In the Showtime series Penny Dreadful , creator and writer John Logan departs slightly from the plot of Shelley’s Frankenstein by portraying Victor Frankenstein (Harry Treadaway) as he creates a fearful, placid Creature named Proteus (Alex Price), whom Frankenstein proceeds to treat with great gentleness and affection. Abruptly, however, viewers discover that this is not the first time Frankenstein has given life to an inanimate body. Frankenstein’s first Creature, Caliban (Rory Kinnear), makes a

in Adapting Frankenstein
Undead aesthetics and mechanical reproduction – Dorian Gray, Dracula and David Reed’s ‘vampire painting’
Sam George

.’ 43 Yet Dorian Gray ’s preface contrasts this anti-realism with the bourgeois monster, Caliban’s aversion to seeing himself reflected: ‘The nineteenth-century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth-century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass.’ 44 Wilde, the master of paradox and contradiction, indulges in

in Open Graves, Open Minds
Nineteenth–century fiction and the cinema
Richard J. Hand

, shambling recklessly in stark contrast to the elegant, melodramatic posturing of Dr Frankenstein (Augustus Phillips). Although Ogle looks the part of a melodramatic monster, recalling images of many Calibans from nineteenth-century stage versions of Shakespeare’s The Tempest , he is evidently a human beneath the costume and this deep-seated humanity will also define Boris Karloff in his iconic embodiment of the role for Universal in 1931. Things might not have gone this way: David J. Skal reproduces prototype designs for

in Interventions
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Elisabeth Bronfen and Beate Neumeier

Renaissance construe[d] as irrepressibly Gothic and ominously modern’, taken up in Andreas Höfele’s reading of Shakespeare’s The Tempest through Oscar Wilde’s late nineteenth century Gothic novel The Picture of Dorian Gray . Höfele takes Wilde’s reference to Caliban in the preface of the novel as a starting-point for a comparative investigation into the human/animal boundary within early modern and post

in Gothic Renaissance
John Schad

face of government. It is, then, something of a surprise to find that Baudelaire’s ‘frightful man’ does not necessarily enjoy what he sees in the mirror, particularly given the nineteenth century’s supposed love of realism. There is, however, Wilde’s famous declaration that ‘the nineteenth-century dislike of realism is the rage of Caliban seeing his own face in a glass’ (Wilde, 1949 : 5). Wilde does add that the ‘nineteenth-century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass

in Interventions