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Fashioning the self in Victorian Gothic

Sally Shuttleworth. 3 Nevertheless this chapter hopes to place them in a new context by examining them specifically in the light of clothing. Attention to dress played a relatively small but significant part in discussions of madness in the nineteenth century. Under the broader doctrine of moral management, it could provide a means both of identifying insanity and of treating it. Some commentators

in Fashioning Gothic bodies
The Gothic body and the politics of décolletage

discourse, in which the moral debates over the proprieties and improprieties of female dress became part of a rhetoric of décolletage, deployed in political discussion. This discussion did not produce a unitary reading of the exposed female form, but rather mobilised a variety of meanings, in which women were alternately natural and artificial beings, victims and aggressors, appropriated for radical and

in Fashioning Gothic bodies
Dandies, cross-dressers and freaks in late-Victorian Gothic

, this is a moral monstrosity concealed behind Dorian’s flawless exterior, figured in the eponymous portrait. Elsewhere the dandy can be seen as monstrous in his difference, in his excessiveness. Carlyle specifically aligns the dandy with the freak-show exhibit, marvelling that the public ‘will waste its optic faculty on dried Crocodiles, and Siamese Twins; and over the domestic wonderful wonder of wonders, a

in Fashioning Gothic bodies
An introduction to Gothic fashion

women of the Directory inflected the representation of female Gothic bodies in this period with political rhetoric. The motifs of concealment and revealment therefore did not merely provide titillation but rehearsed contemporary debates about the moral properties of contemporary women’s dress. Chapter 3 examines the function of clothing in early to mid-Victorian Gothic, suggesting that the Gothic

in Fashioning Gothic bodies
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The double and the single woman

upon the sofa, she uncomfortably finds herself implicated in a more worldly and mercenary narrative, and aligned with what she envisages as a lower social class. The incident is also, however, given an unhealthy sexual tinge through the comparison to the forbidden reading. Blaize’s offer of a free dress – which the heroine is clearly in need of – becomes a moral temptation which does not so much tempt

in Fashioning Gothic bodies
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1990s style and the perennial return of Goth

Goths in the sense that most members of the subculture understood it, the media labelled them as such and sparked a moral panic that incited American Goths to a good deal of spin-doctoring in fanzines, websites and local press. The present study is based on a survey of the British media, which is clearly influenced by American sources (the novels of Brite and Rice, the music of Marilyn Manson and other American bands

in Fashioning Gothic bodies