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Charlotte Brontë’s lyric afterlife
Anna Barton

Italian is the only novel named in Shirley, and, as such, we are invited to consider its intertextual significance. The conversation between Caroline and Rose suggests Brontë’s interest in accommodating the expansiveness of Gothic romance within her domestic fiction. This expansiveness involves not only geographical reach and 156 157 Charlotte Brontë’s lyric afterlife extraordinary incident but also a formal heterogeneity that includes Radcliffe’s own verse compositions and that draws the reader’s attention to the heteroglossic nature of Brontë’s novel, its inclusion

in Charlotte Brontë
Reconfiguring spinsterhood and the Victorian family in inter- war women’s writing
Emma Liggins

also influential on other inter-​war novels such as Daphne du Maurier’s Rebecca (1938). Du Maurier’s celebrated Gothic romance set in Manderley, a country house haunted by the ghost of Maxim de Winter’s glamorous, flirtatious first wife, Rebecca, reveals its debt to Brontë’s plots in the transformation of its self-​effacing, nameless heroine from a nervous paid companion to mistress of Manderley and second wife of the Byronic de Winter. The second wife can only shake off her diffidence and ‘timidity of strangers’ when the husband, like Rochester, suffers from his

in Charlotte Brontë
Swinburne’s aestheticism, blasphemy, and the dramatic monologue
Sara Lyons

hyperbolises Browning’s penchant for the grotesque by transforming the ‘slight hint of necrophilia in the conclusion of Browning’s poem [into . . .] the six-months dead body adored by Swinburne’s speaker’ (Maxwell 2001 , 181). Swinburne appropriates the Gothic romance premise of Browning’s monologue and escalates it into an experiment in the decadent aesthetics he had absorbed from Baudelaire’s Les

in Algernon Charles Swinburne
British flora and the ‘fair daughters of Albion’
Sam George

Smith’s. Plumptre may well have had Smith in mind again when he has his female botanist, Veronica (who has already fantasised about writing a gothic romance with a botanising heroine), recite a poem she has written entitled ‘The Triumph of Botany’. The poem (said to be in twenty cantos) shares the theme of Flora descending to earth in a carriage, the subject of Smith’s Darwin-inspired poem, ‘Flora’, and

in Botany, sexuality and women’s writing 1760–1830
Eileen Fauset

Virtue in 1777), two signature gothic Romances, took no account of the paralleled joys and cruelties of that distant age. In delivering their tales to suit the convention of the times, she claims that, in an attempt to comply with a sense of eighteenth-century decorum, these writers are guilty of giving a false picture of the past: The knight has been clothed in modern gentleness, politeness, and refinement, and in that smoothing down of features offensive to modern taste, the largeness, that great characteristic of the Middle Ages, and perhaps the greatest, the manly

in The politics of writing
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White male vulnerability as heterosexual fantasy
Susanna Paasonen

. Meanwhile, ‘Love enables the pressure of desire’s aggression to be discharged within a frame of propriety’ (Berlant, 2012: 25). All this finds an incarnation in the damaged, needy Christian haunted by memories of his mother, practising structured BDSM routines as a means of self-​therapy and moving into the security of proprietary monogamy in the course of romance. FANTASY BEYOND TRAUMA In her analysis of the series, Illouz identifies it as a genre hybrid combining Gothic romance with self-​help. For Illouz (2014:  30), it primarily offers a social fantasy rather than a

in The power of vulnerability