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The rise of Nordic Gothic
Yvonne Leffler and Johan Höglund

The emergence of Gothic is commonly understood to coincide with the publication of Horace Walpoles's The Castle of Otranto , subtitled A Gothic Story , in 1764. The new genre quickly gained momentum until, at the turn of the century, it had spread across Europe, into the United States and many European colonies. Many of these well-known English, German and French novels were available to Nordic readers and some of them were quickly translated into Swedish, Danish and Norwegian. As an example, Matthew Lewis's The Monk (1796) was translated and published in

in Nordic Gothic
Hammer Film Studios’ reinvention of horror cinema
Morgan C. O’Brien

-state modernism of post-war Europe to establish a peculiarly British cultural concoction. The thematic content of Shelley’s text signifies discourses of its time: human flourishing and the rise of independent thinking, questioning of ethics, the relationship between science and religion, and the related struggle of rationality against superstition; all given greater significance in a post-war Great Britain where food rationing had ended only in 1954. Tony Judt underlines the sentiments affecting British society when Hammer’s Gothic was at its peak popularity

in Adapting Frankenstein
Hans Christian Andersen and Selma Lagerlöf
Maria Holmgren Troy and Sofia Wijkmark

translated authors in the world along with Shakespeare and Karl Marx”’. 1 He travelled widely in Europe and Asia Minor, contributed to genres such as travel writing, drama, autobiography, poetry and fictional prose of different kinds and gained international recognition during his lifetime. Both then and today, he was and is most appreciated as a writer of fairy tales and stories for children or, more accurately, a crossover audience, and the first part of this chapter will focus on three of his most famous fairy tales

in Nordic Gothic
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‘The world of things’: an introduction to mid- century gothic
Lisa Mullen

The new human type cannot be properly understood without awareness of what he is continuously exposed to from the world of things about him, even in his most secret innervations. Theodor Adorno, Minima Moralia 1 Monsters and dreams stalked London’s South Bank in 1951. The Festival of Britain site was a gothic space for a gothic time, visited by the sighing spectres of the Blitz, and the chain-rattling ghosts of modernism’s promise of a brand new

in Mid-century gothic
French fiction and Djuna Barnes’s Nightwood
Avril Horner

city – between 1921 and 1931, a period frequently presented as the defining moment of high modernism. Barnes felt what one biographer has described as ‘an intense alienation from both family and nation’ (Herring 1995 :85) and she looked to English and European culture for intellectual inspiration. Like other American expatriates, such as Ezra Pound, Ernest Hemingway and

in European Gothic
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Andrew Smith

recomposition of the very origins of the colonial. The liminality of the Anglo-Irish or the Anglo-Indian thus becomes the vantage point from which the spectral can be developed. However, as in the example of Henry James, it is also the case that a hyphenated national identity leads to an estrangement from the past (Europe) and the present (America). Nevertheless the ghost retains its status as a vehicle through

in The ghost story, 1840–1920
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Closing thoughts
Richard J. Hand

also reminded of the place of the scream in Antonin Artaud’s visionary desires, namely – in Susan Sontag’s words – to discover ‘the transcendence of language in the actor’s scream’ (Sontag, 2003 : 89). In 1935, as part of his avowed desire to re-ignite European culture, Artaud himself declared: In Europe no one knows how to scream anymore

in Listen in terror
The Prisoner, authorship and allegory
Mark Bould

the critically dominant realist traditions of television drama and attracts allegorical interpretation. Indeed, popular criticism of the series has produced many such readings, but it has also followed the pattern of academic television drama criticism in proposing McGoohan as the authorial creator of the drama’s meanings. John Caughie, arguing that television drama is ‘central to an understanding of what happened to British modernism in the second half of the twentieth century’ (2000: 6), concentrates on ‘serious drama’ – the single play tradition of Play for Today

in Popular television drama
W. J. McCormack

rather parler, for French is becoming compulsory in the academy as Gaelic becomes extinct in the community) with post-modernism. There is an undeniable excitement generated by the recent operations of the Field Day Company and its directors – Seamus Deane, Brian Friel, Seamus Heaney and the others – but this may have obscured the irony of their apparent endorsement of a Terry

in Dissolute characters
Neil Cornwell

: 208-209). 3 A certain input from folklore, and other such further native medieval ingredients as chronicles and saints’ lives apart, Russian Gothic can be said to derive principally from an amalgam of European influences: the English Gothic novel, the tales of Hoffmann, the French fantastique and frénétique traditions, and the various schools of European idealist and esoteric

in European Gothic