Character Doubling and Social Critique in the Short Fiction
A. A. Markley

As she had done in Frankenstein, Mary Shelley reworked the gothic dopplegänger motif time and again in her short fiction not only to entertain but also to educate her readers. Focusing on four tales written in the late 1820s and early 1830s, this paper considers how Shelley repeatedly set up a triangle of desire in which an intensely competitive and destructive relationship between men is mitigated or resolved by a female character. A close look at these tales contributes to our understanding of the extent to which Mary Shelley devoted herself to remodelling Gothic modes. More importantly, these tales demonstrate the degree to which her ‘New Gothic’ was intended to contribute to a reconfiguration of traditional gender roles and a revaluation of the domestic affections, particularly in terms of their relevance to the political arena.

Gothic Studies
Irish fiction and autobiography since 1990
Liam Harte

, 2003), p. 59. Seamus Deane, ‘Autobiography and Memoirs 1890–1988’, in Seamus Deane (ed.), The Field Day Anthology of Irish Writing (Derry: Field Day, 1991), vol. 3, p. 383. Dermot Healy, The Bend for Home (London: Harvill, 1996), pp. 73– 4. The motif of human doubles is not confined to recent works of Irish autobiography. Twins and doubles punctuate Irish novels from Bram Stoker’s Dracula (1897) to Anne Enright’s What Are You Like? (2000) and also feature in films, as exemplified by the recent dopplegänger melodrama The Tiger’s Tail (2006). See Jeanett Shumaker

in Irish literature since 1990
Lez Cooke

nouveau riche capitalist, Doppleganger, the sinister figure from Transylvania (if you see his face you die!!!).’45 As in Diary of a Young Man, the first episode of Macheath opens with the voice of a narrator and although the narration delivered over the opening titles is not in verse its presentation in the script emphasises the heightened melodrama of the opening scene, setting the tone for the drama that is to follow: Cooke_01_All.indd 85 11/12/06 12:38:54 86 Troy Kennedy Martin NARRATOR: Macheath on the trail of the arch fiend, Doppleganger, finds himself in a

in Troy Kennedy Martin
Abstract only
Improbable possibilities
Robert Duggan

in regarding the use of glass in The Crow Road (discussed above) as evidence of Banks working through issues of national identity: ‘Glass wonderfully figures the unity in diversity to which the idea of the nation aspires’ (McMillan, 1995, 90). Berthold Schoene-Harwood attacks Nairn’s approach to The Wasp Factory and accuses him of resuscitating ‘the stereotyping myth of the Caledonian antisyzygy’ and being ‘insensitive to the possible gender-specificity of the dopplegänger motif ’ (Schoene-Harwood, 2000, 105). While Schoene-Harwood’s gender-oriented reading of the

in The grotesque in contemporary British fiction
Boom! (1968), Secret Ceremony (1968) and Figures in a Landscape (1970)
Colin Gardner

, thereby creating a spatial complicity between them, much like the dopplegänger effect of a man and his advancing shadow. Thus a scene might start off with MacConnachie and Ansell in the foreground of the shot, framed against a stunning backdrop. Suddenly, we leave them behind as the camera pans left or right to pick up the inexorably advancing army in the distance, as if to underline the immanent palpability of danger within

in Joseph Losey