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Gothic and the perverse father of queer enjoyment

the apartment. Soon after the priest descended to vespers, much surprised at the mystery of the youth’s behaviour. 11 Later, yet still prior to the disclosure of Philario’s female name and identity, the young novice will kiss Father Innocent on the mouth and, in a gesture of love and devotion, strew flowers around his cell

in Queering the Gothic
Abstract only
Enlightenment, automata, and the theatre of terror

isolation and habitual obedience of the convent quite early on in her account of life at Longchamp. On the morning of taking her vows, she is undressed by the novice-mistress and her fellows: She had hardly gone out before the novice-mistress and my fellows entered; my religious habit was taken off and I was dressed in

in European Gothic
Marsh and the female offender

deeply informed by the notion of hereditary criminality.10 As the vampiric contagion spreads in London, Van Helsing explains to the ­gathering of brave white men and to Mina Harker that Dracula is ‘predestinate 48 Marsh and the female offender [sic] to crime’. Mina, apparently no novice to racial theory, takes his drift, agreeing that the count is ‘a criminal and of criminal type. Nordau and Lombroso would so classify him.’11 In the Egyptian sorceress who invades London in The Beetle (1897), Marsh produced a criminal deviant quite similar to Dracula.12 Just as Dracula

in Richard Marsh, popular fiction and literary culture, 1890–1915
Open Access (free)
Romances, novels, and the classifications of Irish Romantic fiction

mistress, and our modern novelists’, Eleanor is depicted as even more seriously misguided than her sister, Cassandra ( The convent , vol. 1, p. 16). Although tedious and irrational, Cassandra is nevertheless committed to feminine modesty and virtue. In contrast, Eleanor is not only jealous and mean-spirited, but also determined to get what she wants, even if that means engaging in unfeminine activity. In a telling incident, therefore, Eleanor writes to Stanhope to express her love for him. In so doing, Eleanor confirms her ‘fallen’ nature. Stanhope accordingly begs

in The gothic novel in Ireland, c. 1760–1829