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Excess, Pleasure and Cloning

This essay examines the proliferation of visual representations of Robert Louis Stevenson‘s Strange Case of Dr Jekyll and Mr Hyde (1886), considering the question of what links contemporary (Scottish?) Gothic to its problematic origins. After a survey of cinematic and graphic adaptations, the essay focuses on Steven Moffatt‘s Jekyll (BBC, 2007), which combines the post-Darwinian anxieties surrounding Stevensons tale of human regression with a much more contemporary interrogation of the ‘human’ against the backdrop of complex globalised scientific conspiracies. Significantly, the production draws on the Scottish origin of the text, re-proposing the question of (national) identity and authenticity against the threat of globalisation.

Gothic Studies
Money, Commerce, Language, and the Horror of Modernity in ‘The Isle of Voices’

Money, not merely as subject in literature but also in its very form and function, exhibits qualities of spectral evanescence, fetishised power over the imagination, and the uncontrollable transgression of boundaries and limits, which closely parallel the concerns and anxieties of Gothic literature. Yet it is in the writings of economic theorists and commentators on market society like Adam Smith and Karl Marx that these Gothic anxieties about money are most clearly articulated. Stevensons short story ‘The Isle of Voices’, read in the context of his comments on money in his other writings, is one of the few fictional texts which uses these properties of money to create what might be called a ‘financial Gothic’ narrative, which nevertheless has insights and implications for the narratives of capitalist modernity in general.

Gothic Studies
Professional Integrity in Peril at the Fin de Siècle

This essay positions the drug-using doctor at the intersection between traditional Gothic horror and a new fin-de-siècle medical realism, embedding the cultural anxieties at the fin de siècle in relation to the ethical and theological boundaries of scientific knowledge. The objective is to provide a framework for reading and interpreting the medico-gothic narrative of addiction. The essay examines the writings of three pioneering physician-scientists: one historical – Sigmund Freud – and two fictional – Dr Jekyll, in Robert Louis Stevenson‘s Strange Case of DrJekyll and Mr Hyde (1886), and Dr Seward in Bram Stoker‘s Dracula (1897).

Gothic Studies
The Urban Gothic of Fin-de-Siècle London and Gotham City

Gothic literature set in fin-de-siècle London has often been argued to highlight duality. However, the urban Gothic truly flourishes through its liminality, which allows chaos and order to coexist. Texts such as Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde and Oscar Wilde’s The Picture of Dorian Gray offer versions of a Gothic London that have the appearance of structure but are difficult to navigate. Likewise, the Batman franchise has embraced Gotham City as a setting that provides tensions between order and chaos. In Gotham, as in fin-de-siècle London, liminality puts pressures on apparent boundaries. While the urban Gothic initially developed through nineteenth century British texts, modern-day comics and films within the Batman franchise have allowed us to see how a multiverse normalises liminality and embraces multiple works to speak collectively about Gothic tensions. This article analyses the liminal nature of the urban Gothic in both cities side by side to argue that the urban Gothic’s liminal nature allows instability to reign.

Gothic Studies
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which dovetail with theories of degeneration and sexological accounts of subjectivity. All of these narratives underline just how important it is to put the history back into theories of the self and so avoid the essentialist trap. Notes 1 Robert Louis Stevenson, The Strange Case of Dr Jekyll and Mr Hyde (1886) in

in Victorian demons

make the later text itself an uncanny double, the shadow of the more celebrated Justified Sinner . In a novel which strongly echoes Justified Sinner , The Master of Ballantrae (1889) by Robert Louis Stevenson offers yet another story of two rival brothers, Henry and James Durie, one the evil genius of the other. 15 A possible relationship with Hogg is hinted at in his fictional editor’s brief

in A familiar compound ghost

a passing likeness to the young Audrey Hepburn. Stevenson redux: The Black Arrow (1972–74), Kidnapped (1979), The Master of Ballantrae (1984) Robert Louis Stevenson had been a popular source of television drama since the early history of the medium. The BBC had produced live versions of Treasure Island in 1951, The Black Arrow in 1951 and 1956, and Kidnapped in 1952 and 1958, and in the 1950s there had been an Australian telefilm series, The Adventures of Long John Silver, in which Robert Newton reprised his role from the 1950 Walt Disney film of Treasure Island

in Swashbucklers
Thomas Edison’s Frankenstein and John Barrymore’s Dr Jekyll and Mr Hyde

Two great works of fiction at opposite ends of the nineteenth century continue to be paradigms of horror with the concept of ‘adaptation’ at their heart: Mary Shelley’s Frankenstein, or the Modern Prometheus ( 1818 ) and Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde (1886). Both present mad scientists who experiment with adaptation in the sense of

in Monstrous adaptations
Nineteenth–century fiction and the cinema

In considering English culture of the long nineteenth century, we may immediately think of giants of fiction: the witty and delicate satire of Jane Austen; the Gothic achievement of Mary Shelley; the enigmatic Charlotte and Emily Brontë; the social commentary of Charles Dickens; the panoramic narrative of George Eliot; the thrilling narratives of Robert Louis Stevenson; the universal tragic force within the meticulous regionalism of Thomas Hardy; the forging of a national identity in Sir Walter Scott; the

in Interventions

, sailing off to the unknown in search of treasures, fearing nothing, the pirate became a symbol of freedom’ (Gerassi-Navarro 1999a: 2). This chapter holds that amongst the vast range of literary stories about pirates which have fascinated the reader, three stand out as particularly influential in the Western cultural sphere, including Germany, as they reflect as well as contribute to the continuing process of romanticization: Lord Byron’s poem The Corsair (1814), the novel Treasure Island by Robert Louis Stevenson (1883) and to a lesser extent the character of Captain

in Romantic narratives in international politics