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Ed Cameron

This article argues that the allegorical interpretations of the Gothic sublime made by materialist critics like Franco Moretti and Judith Halberstam unavoidably reduce Gothic excess and uncanniness to a realist understanding and, thereby, ironically de-materialize Gothic monstrosity by substituting for it a realistic meaning. This essay, instead, advocates a psychoanalytic critical reception that demonstrates how the essential uncanniness of the Gothic novel makes all realistic interpretation falter. Rather than interpreting Frankensteins creature as a condensed figure for proletarian formation or Dracula as an allegory for xenophobia, for instance, this article insists that the Gothic uncanny should be understood as figuring that which can only be viewed figuratively, as figuring that which has no space within a realistic understanding.

Gothic Studies
Beckett and the matter of language
Laura Salisbury

neologisms like the uncanny (das Unheimlich) or the undead, both of which seem to take something of their spooky quality precisely from the grammatical violation. On the uncanny, see also Thomson, Chapter 4 above. 77 Deleuze, ‘The exhausted’, Essays, p. 173. 78 Deleuze, ‘He stuttered’, Essays, p. 113.

in Beckett and nothing