Search results

Abstract only
Darkness and suicide in the work of Patricia Highsmith
Fiona Peters

for the deathly life, and it seems that the extremity of social exclusion (whether the self-exclusion of the potential individual suicide or the traumatised prisoner) means that the gap between the two can manifest in representations of the monstrous and uncanny, perfect within the Gothic framework but also included in crime fiction. Central to Lacanian theory (on which Žižek bases much of his own arguments) is the argument that the space between the ‘two deaths’ is filled not with desire that is excluded but with an unconditional and repetitive demand to do or tell

in Suicide and the Gothic
Gothic and the perverse father of queer enjoyment
Dale Townshend

and Melmoth and beyond have come to understand, it is the meaning of human passion in all its depth, its scope and its intensity. For all queer theory’s aversion to what it has often taken to be the ‘unremittingly heteronormative’ effects of the psychoanalytic paradigm, 40 Lacanian theory is useful in opening up the Gothic’s queer perversions to its ethical possibilities. If

in Queering the Gothic
The gothic potential of technology
Lisa Mullen

congealed time, like paintings and photographs. Live television, instead, like a mirror, presents the present, and then erases it. But unlike a mirror, it has no indexical relationship with reality. Freud’s definition of the uncanny describes a conflation of the familiar with the enigmatic, and the same nearness/strangeness binary is disrupted by telepresence and television. The images appearing on cathode screens slip between categories: they are mirrors and maps, they are pictures and they are codes. They operate in the Symbolic realm of Lacanian theory, the realm of

in Mid-century gothic