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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
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The double and the single woman
Catherine Spooner

White Female, finally, clothing provides a primary mechanism through which the exploration of the doppelganger theme is produced. Between women The key critical text to theorise male doubles in Gothic literature is Eve Sedgwick’s Between Men: English Literature and Male Homosocial Desire ( 1985 ). While Sedgwick’s discussion of male relationships is extremely

in Fashioning Gothic bodies
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Trauma-tragedy and the contemporary moment
Patrick Duggan

together which might be seen to stimulate ‘a misunderstanding of trauma’. The two acts are, of course, vastly different in extremity, context and desired outcome; however, just as the body depicted in the photographs we discussed was real, so too is O’Reilly’s and, likewise, the incisions she makes into it. The paradox I am suggesting she inhabits is structurally similar to the model of ‘homosocial desire’ which Eve Sedgwick proposes in Between Men: English Literature and Male Homosocial Desire (1985). Briefly, Sedgwick proposes that male relationships exist on a

in Trauma-tragedy
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Queering the Gothic
William Hughes and Andrew Smith

academia see William Hughes, ‘Gothic Criticism: A Survey, 1764–2004’ in Anna Powell and Andrew Smith (eds), Teaching the Gothic (Basingstoke: Palgrave, 2006), pp. 10–28, passim . 12 See Eve Kosofsky Sedgwick’s Between Men: English Literature and Male Homosocial Desire (New

in Queering the Gothic
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Erotic commodification, cross-cultural conversion, and the bed-trick on the English stage, 1580–1630
Daniel Vitkus

bed-trick in The True Trojans uses the woman (no women actually appear on stage) as a counter in a transaction that is purely ‘between men’, an exchange of the sort that Eve Kosofsky Sedgwick describes in Between Men. 22 In The True Trojans , the absence of women and the intensity of male homosocial desire eventually leads to open aggression between Hirildus and Eulinus

in Conversions
Gothic and the perverse father of queer enjoyment
Dale Townshend

Literature and Male Homosocial Desire (1985) has argued, three of the Gothic’s original architects were, at least in today’s terms, homosexual: ‘Beckford notoriously, Lewis probably, Walpole iffily’ (92-3). Subsequent attempts at queering the Gothic through the work of authorial biography has reached similar conclusions: recent work by Rictor Norton, Timothy Mowl’s Horace Walpole: The Great Outsider

in Queering the Gothic
Royce Mahawatte

, ‘when is the Gothic anything but queer?’ Since the publication of Sedgwick’s The Coherence of Gothic Conventions (1980) and more crucially Between Men: English Literature and Male Homosocial Desire (1985) and Epistemology of the Closet (1991), the Gothic novel has been revised, by Sedgwick’s reading of Claude Lévi Strauss and René Girard, from being a metaphor for the repressed to a

in Queering the Gothic
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Simon Ditchfield and Helen Smith

men: English literature and male homosocial desire (New York: Columbia University Press, 1985 ). 40 See especially Hindmarsh, Evangelical conversion narrative.

in Conversions
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The ‘frontier condition’ in María Novaro’s Sin dejar huella
Sofía Ruiz- Alfaro

structure that reveals, beneath its surface of male rivalry and competition for a woman, a powerful male homosocial bond (Sedgwick, 1992 : 27), present in Cuarón’s film through the close friendship between Julio and Tenoch, the two male teenagers. In the end, the film shows that male homosocial desire ultimately determines the position of these two male protagonists in Mexican society and confirms it to be the most powerful force in

in Hispanic and Lusophone women filmmakers
Men’s views of sperm donation
Gabriele Griffin

: 250 – 65 . Riggs , D. W. and Russell , L. ( 2011 ) ‘ Characteristics of men willing to act as sperm donors in the context of identity-release legislation ’, Human Reproduction 26 ( 1 ): 266 – 72 . Saner , E. ( 2012 ) ‘ I think of my egg donor every day ’, Guardian , 13 December. Available at (accessed 26 November 2015). Sedgwick , E. K. ( 1985 ) Between Men: English Literature and Male Homosocial Desire . New York : Columbia University Press . Sydsjö , G

in Bodily interventions and intimate labour