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Nordic Gothic and colonialism
Johan Höglund

goods’, it is common to differentiate between different types of colonial project. 13 The most common type of colonisation that the major European empires engaged in was overseas colonialism, where European explorers, missionaries, military, traders, teachers and other agents of empire travelled across the Atlantic, the Pacific or simply the Mediterranean to invade and settle land not adjacent to their own national borders. Among the Nordic nations, the Danish-Norwegian union, and then Denmark alone, practised this

in Nordic Gothic
Trembling rocks in sensation fiction and empire Gothic
Shelley Trower

’s ‘The Adventure of the Devil’s Foot’ (1910). No longer a sunny tourist destination like the Mediterranean, as promoted by the tourist industry, the Cornish coastline becomes an exemplary manifestation of insecure national borders and the dangers of empire, posing a threat to the English visitor. Walking on cliffs Wilkie Collins travelled through Cornwall on foot in 1850, before

in Rocks of nation
Abstract only
Shelley Trower

European ‘mainland’, being both closer to and more hospitable than the relatively mountainous and infertile Highlands. Hence inhabitants of the Lowlands tend to originate from ‘a Scandinavian or Teutonic strain’, according to Mackinder, which modified the ‘aboriginal population’ of ‘Mediterranean origin’ – characterised by ‘dark’ hair and eye colour. 38 (By this contradictory reference

in Rocks of nation
Abstract only
Scopophobia in Renaissance texts
Elisabeth Bronfen and Beate Neumeier

Connycatcher and a Shee Conny-catcher . London : Bodley Head , 1923 . Herraez , Ana Garcia and Duncan Salkeld . ‘History, Genre and Sexuality in the Sixteenth Century: The Zoppino Dialogue Attributed to Pietro Aretino.’ Mediterranean Studies 10 ( 2001 ): 49

in Gothic Renaissance
British romantic drama and the Gothic treacheries of Coleridge’s Remorse
Peter Mortensen

financial but also erotic motives for their sinister machinations: these younger brothers have designs not only on Karl’s/Alvar’s title and inheritance, but also on their betrothed Amalia/Teresa. Virtually all aspects of Remorse (the title, the overriding theme of fraternal betrayal, the medieval and Mediterranean setting, the emphasis on secret conspiratorial societies) recapitulate

in European Gothic
Representations of ritual violence in English and Spanish Romanticism
Joan Curbet

of sacrifice. Such a keen understanding of the popular roots of religious violence, and of its role in mediterranean culture, was not available to most Spanish authors working under the aegis of Romanticism, simply because the political conditions within which they operated tended to identify religious ceremonial not with the exploration of a fascination with violence, but with the ancestral glory and

in European Gothic
Henry James’s Anglo-American ghosts
Andrew Smith

could almost fancy her blinking in the great glare sent up from the Mediterranean’ (p. 56). The governess, recounting a sighting of Jessel to Mrs. Grose, describes ‘ “a figure of quite unmistakable horror and evil: a woman in black, pale and dreadful” ’ (p. 156). This emotional response relocates James’s view of the portrait of the exiled women in English Hours , where he notes the presence of an

in The ghost story, 1840–1920
The Albigenses as historical novel
Christina Morin

Cathars from the Albi area of modern-day southern France. The heresy emerged in parts of the Mediterranean, including Languedoc, in the eleventh and twelfth centuries. Believers in a dualistic notion of God, the Albigenses understood that a ‘good’ god would never have created the material world, as sinful as it was, and instead ruled over a heavenly realm to which individuals could ascend by renouncing

in Charles Robert Maturin and the haunting of Irish Romantic fiction
Margaret Atwood and Lady Oracle
Susanne Becker

beginning of the text abounds with such totalising discourses in a very contemporary way: visions of various feminine ideals are presented in contrast to Joan’s sense of self. In rapid succession she visualises herself, first as incarnation of the contemporary media image of the summer beauty: ‘a Mediterranean splendour, golden-brown, striding with laughing teeth into an aqua sea

in Gothic Forms of Feminine Fictions