Gothic grotesque’, in Diana Wallace and Andrew Smith (eds), The FemaleGothic: 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.
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
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 ‘femalegothic’ – sensational plots and
monstrous characters – is the unconscious expression of women’s
repressed urge to power, which, denied social outlets, surfaces in the
an art’, Westminster Review, 60:118 (October
1853), 342–74 (p. 372).
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 FemaleGothic (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