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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
Imaging gothic from the nineteenth century to the present

Monstrous Media/Spectral Subjects explores Gothic, monstrosity, spectrality and media forms and technologies (music, fiction's engagements with photography/ cinema, film, magic practice and new media) from the later nineteenth century to the present day. Placing Gothic forms and productions in an explicitly interdisciplinary context, it investigates how the engagement with technologies drives the dissemination of Gothic across diverse media through the twentieth and twenty-first centuries, while conjuring all kinds of haunting and spectral presences that trouble cultural narratives of progress and technological advancement.

Gothic imagery in Dutch feminist fiction

(female) subjectivities. The monster’s liminality and inherent ambiguity feature in Braidotti’s argument, yet it is difference that receives most attention in her analysis. In this chapter I will discuss Het perpetuum mobile van de liefde (The Perpetual Motion Machine of Love , 1988), a novel by Renate Dorrestein, in which Gothic monstrosity is perceived from a feminist

in Gothic kinship
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intervention in contemporary Gothic’s rethinking of the family. In her Chapter 7 contribution, Agnes Andeweg focuses on the Gothic dimensions of sisterhood in Dutch feminist fiction. Renate Dorrestein’s (1954) fictional autobiography Het perpetuum mobile van de liefde ( The Perpetual Motion Machine of Love , 1988) offers a case of Gothic monstrosity perceived from a feminist

in Gothic kinship
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Encountering the monstrous in American cinema

antithetical to organic unity. Morgan describes this concept of Gothic monstrosity: As opposed to the comic sense of life or tragedy’s dignified sense of death, horror embodies a sense of anti-life or unlife; it takes note of the demarcation between the wholesome and the unwholesome, the healthy and the monstrous – a

in Ecogothic

, time, place, gender identity and sexual desire become a ‘muddle’. For Adela Quested and Mrs Moore, this muddle begins with a confrontation they have with themselves in the bowels of a Gothic monstrosity – the Marabar Caves. MARABAR CAVES The caves are readily described. A tunnel eight feet long, five feet

in Queering the Gothic
Abjection and revelation in Le Fantôme de l’Opéra

a set of deformities affecting the skin of his face (as in those several films where he has been splashed by acid), but the face of a skull covered by an epidermis so thin that it is visible only in its parchment-like yellowness, adding even more qualities of decay to a walking embodiment of death (see Leroux 1959 :253-256). This sort of Gothic monstrosity links the kind of living dead we see in Stoker

in European Gothic

and Gothic monstrosity reveals just how far a form of Gothic imagining permeates the science of the time. Kelly Hurley has explored this new ‘“gothicity” of a range of scientific discourses’ ( The Gothic Body , p. 5) and argues that ‘Degeneration … is a “gothic” discourse, and as such is a crucial imaginative and narrative source for the fin-de-siècle Gothic’ (p. 45

in Victorian demons
Journalism, Gothic London and the medical gaze

origin for the emergence of this strange ‘monster’. Here the murderer has been generated out of their natural habitat of the slum. Significantly the Chronicle suggests, via a popular version of pseudo-Darwinian ideas, that this Gothic monstrosity was the product of misdeveloped evolutionary forces. Importantly an additional horror is credited here: the creature is not confined to place ‘where is this

in Victorian demons
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only of the experience of pain but also of its overcoming. Riley is a gothic monstrosity, a distillation of the seamier qualities of resort life who, with his ‘dull black morning jacket, the woollen hat, the gloves with the finger ends cut out’ (Hall, 2004: 98) gives off the musty redolence of a Victorian caricature. His grotesqueness is accentuated by his cruelty, by his pathological drinking, and by the squalid quarters he keeps, which have more of the lair about them than reputable offices for business. Yet, on first meeting him, Parks is aware of the

in Twenty-first-century fiction