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Female homosociality in L. T. Meade’s schoolgirl novels

4 Girls with ‘go’: female homosociality in L. T. Meade’s schoolgirl novels Whitney Standlee T he juvenile fiction written by the Irish novelist L. T. Meade (Elizabeth Thomasina Meade Toulmin Smith, 1844–1914) was extensive and diverse in both substance and reach. Sales records for her novels, a number of which continued to be reissued decades after their initial publication and which sold in the tens of thousands, confirm that her work appealed across temporal, geographical, religious, and even gendered boundaries.1 Evidence of her widespread popularity

in Irish women’s writing, 1878–1922

Chapter 2 Bachelor girls, mistresses and the New Woman heroine This chapter examines radical representations of work, celibacy, adoption and ‘female urbanism’ in fin-de-siècle short stories and novels. Middle-class women’s unprecedented entry into the labour market meant changes in accommodation: working women now lived alone, rented rooms with friends or siblings or occupied the new ladies’ lodging houses in London.1 The 1890s saw the birth of the ‘bachelor girl’, a new label given to young independent female workers, particularly those employed in the new shops

in Odd women?

Sleeping Beauty; although a Gothic Sleeping Beauty herself, the Lady of the House of Love is similarly caught up in a relentless script of death and destruction as a daughter of Dracula. Carter’s fiction may be populated by daddy’s girls but mother, Sage suggests, is ‘almost a missing person’ in her writing ( 1994a : 6). However, while biological mothers may be frequently absent from the pages of

in Decadent Daughters and Monstrous Mothers
Fur, hair and subversive female lycanthropy

humanity, and especially femininity. The tomboyish Micah – who describes herself as ‘not black, not white; not a girl, not a boy; not human, not a wolf. Not dangerous, but not exactly safe. Not crazy, but not exactly sane … a non-person who belonged nowhere’ 2 – gradually reveals herself to be a pathological liar suffering homicidal delusions of lycanthropy. Throughout the novel, sprouting hair

in She-wolf

ascribed. Or to use a phrase from Ruth Bottigheimer: ‘whose voice do we actually hear?’ 1 In as far as stories were not directly copied from the literature, were they primarily invented by girls such as Marie Hassenpflug and Amalie Henschel? Or were they just passing on what they had heard and, as Maria Tatar formulated it, do their stories ‘not by any stretch of the imagination come close to capturing

in Tales of magic, tales in print

 116 7 WHITE VULNERABILITY AND THE POLITICS OF REPRODUCTION IN TOP OF THE LAKE: CHINA GIRL Jo ha n na G ond ouin, Suruc hi Thapar- ​Björ k ert a nd I ngr id  Ry berg T  op of The Lake: China Girl (Australia, Jane Campion, 2017) is the sequel to Jane Campion and Gerard Lee’s crime series Top of the Lake from 2013, directed by Campion and Ariel Kleiman. After four years of absence, Inspector Robin Griffin (Elisabeth Moss) returns to the Sydney Police Force and comes to lead the murder case of an unidentified young Asian woman, found in a suitcase at Bondi Beach

in The power of vulnerability
Criminal Female Sexuality in Bram Stoker‘s Dracula

This essay considers how Bram Stoker‘s Dracula (1901) engages both contemporary medical models and common-sense conceptions of female criminality and sexuality. From Dracula, the figure of Lucy Westenra emerges as a quintessential femme fatale. Lucys neck bears the characteristic marking of the vampire, but we never witness the bite; as a result, ambiguity surrounds the causal relationship in the process of becoming a vampire. The novel produces this ontological ambiguity to perpetuate and to exacerbate contemporary views regarding the radical instability of female nature. Under this logic, Lucys encounter with the vampire brings only latent impulses to the surface. Stokers narrative exploits this physiological uncertainty to perpetuate the sensational terror that all female sexuality is monstrous, threatening to render the British man a debased specimen of his former glory. By tracking the various logical ellipses and rhetorical slippages which give shape to Stokers female vampires, I demonstrate how Stokers novels enact the same anxious rhetoric that likewise informs the portrait of female sexuality in nineteenth-century sexology.

Gothic Studies

Soundscapes of the city 6 •• Soundscapes of the city in Margaret Harkness, A City Girl (1887), Henry James, The Princess Casamassima (1885–86), and Katharine Buildings, Whitechapel Ruth Livesey This morning I walked along Billingsgate from Fresh Wharf to the London Docks. Crowded with loungers smoking bad tobacco, and coarse careless talk with clash of halfpenny on the pavement now and again … The lowest form of leisure – senseless curiosity about street rows, idle gazing at the street sellers, low jokes. (Beatrice Potter Webb, Diary, 6 May 1887 [Webb, 1992

in Margaret Harkness

INTRODUCTION What is known in the English-speaking world as The Millennium trilogy , or The girl with the dragon tattoo series, originated as three novels published in Swedish (2005–07), written by Stieg Larsson (1954–2004). 1 One of the series’ protagonists, Lisbeth Salander, sports several tattoos, among them one depicting a dragon. This facet was not used in the original Swedish titles of the novels – nor was the phrase ‘the girl with the dragon tattoo’ found anywhere in the novels or in Larsson

in Tattoos in crime and detective narratives
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Hearing Voices in L. M. Montgomery‘s Emily Climbs and F. W. H. Myers

The novels of L. M. Montgomery‘s Emily trilogy belong to the genre of domestic fiction, but they are punctuated by uncanny events, by excursions into a Gothic mode where the girl‘s smooth transition from rebellious child to compliant adult is disrupted. This paper is an investigation of Montgomerys use of Gothic tropes in the second novel of the trilogy, Emily Climbs (1925); in particular, this essay analyses the chapter entitled ‘In the Watches of the Night’, a chapter that is exemplary of Montgomery‘s use of the Gothic mode to disrupt the disciplinary system that enjoins the adolescent girl to situate her desires in the home. The chapter is permeated by Montgomery‘s reading in abnormal psychology, particularly by F. W. H. Myerss Human Personality and Its Survival of Bodily Death (1903), a work that lends a scientific veneer to Montgomerys Gothicism with its account of what ‘hearing voices’ means. In an extravagantly gothic metaphor, Slavoj Zizek claims that the ‘life of a voice’ is ‘the uncanny life of an undead monster, not the “healthy” living self-presence of meaning’ (103). Montgomery‘s text arguably excavates a moment which reveals both the speaking subject and the ideology which disciplines it to be marked by the uncanny, by that which undermines ‘the “healthy” living self-presence of meaning’.

Gothic Studies