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Gothic Melodrama and the Aesthetic of Silence in Thomas Holcroft‘s A Tale of Mystery
Diego Saglia

Focusing on melodrama and on Thomas Holcroft‘s exemplary A Tale of Mystery (1802) in particular, this essay proposes a reinterpretation of Gothic drama and theatre as constitutively characterized by interruptions of comprehension. The tribulations of its persecuted protagonist Francisco are read in the context of the court trial of a real-life Francisco, who lived in London in 1802 and was one of the ‘stars’ in contemporary newspaper reports from the Old Bailey. Combining different generic and tonal modes, Romantic-period Gothic melodrama capitalized on explicitness and hyperbole, as well as on materializations of ethics and sentiment through their overt exhibition on stage or ‘ostension’. At the same time, it emphasized absence, silence, dematerialization and dissolution. With its continuously deferred revelations,and ostensions of the unsaid, A Tale of Mystery is a significant investment in an aesthetic of the unsaid that is central to a definition of Gothic on stage.

Gothic Studies
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Urban legends and their adaptation in horror cinema
Mikel J. Koven

discussed Candyman from a folkloristic perspective by drawing upon the literature surrounding ostension (Koven, 1999 ). Overall, however, a useful methodology for the analysis of legends in popular cinema has been slow to develop. An obvious starting point would be a consideration of the narrative structure of those films either based on or utilising urban legends. Although

in Monstrous adaptations