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Adapting Villette
Benjamin Poore

Gothic grotesque’, in Diana Wallace and Andrew Smith (eds), The Female Gothic: New Directions, Basingstoke: Palgrave Macmillan, pp. 76–​97. Miller, Lucasta (2002) The Brontë Myth, London: Vintage. Mulvey, Laura (1975) ‘Visual pleasure and narrative cinema’, Screen, 16.3, 6–​18. 195 196 Textual legacies O’Neill, Judith (ed.) (1968) Critics on Charlotte and Emily Brontë, London: George Allen & Unwin. Pascal, Julia (2000) Charlotte Brontë Goes to Europe, British Library, London. Events collection, recorded 10 January, recording no. 1CDR0004534. Poore, Benjamin (2012

in Charlotte Brontë
The Story So Far and Some New Suggestions
Patsy Stoneman

theory of repression, according to which adult identity is acquired, together with access to language and the values of the symbolic order, at the cost of repressing all unacceptable elements, which form the unconscious. In women, anger, sexuality and the urge to power are generally repressed. Several feminist critics (Gilbert and Gubar, 1979; Jacobus, 1979, Miller, 1981) have argued that ‘female gothic’ – sensational plots and monstrous characters – is the unconscious expression of women’s repressed urge to power, which, denied social outlets, surfaces in the form of

in Elizabeth Gaskell
Abstract only
Helena Ifill

an art’, Westminster Review, 60:118 (October 1853), 342–​74 (p. 372). 63 64 Self-control, willpower and monomania 4 Andrew Lycett, Wilkie Collins: A Life of Sensation (London: Random House, 2013), pp. 54–​5. 5 As Tamar Heller observes, ‘the intellectual, Basil, creates monsters he is not able to control’ (Tamar Heller, Dead Secrets:  Wilkie Collins and the Female Gothic (New Haven: Yale University Press, 1992), p. 62), but in the final pursuit it is the creature, Mannion, who hunts his creator. 6 George Rowell, Nineteenth-​Century Plays (London

in Creating character