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Rebecca Weaver-Hightower and Rachel Piwarski

This essay investigates how H G Wells’s The Island of Doctor Moreau employs the gothic trope of the uncanny. Despite Wells’s use of ‘uncanny’ twice to describe humanized animals, prior critics haven’t explored what the uncanny adds to our understanding of the novel, perhaps because Freud’s famous essay ‘The ‘Uncanny’ was written in 1913, following The Island of Doctor Moreau by more than two decades. We argue, however, that both men were working from notions of the uncanny circulating in fin de siècle Europe and describing a larger colonial dynamic, so that even though Wells’s work preceded Freud’s, we can use Freud’s explanation of the uncanny to better understand what Wells was doing and why the animals in The Island of Doctor Moreau are so unsettling to readers in our time and in his. That is, the uncanny helps to explain how the novel works as a gothic. Moreover, by examining how Freud’s theories help us to understand Wells, we also see elements of Freud’s essay that we wouldn’t otherwise. We will argue that because Freud and Wells were describing the world around them, overlap is logical, even predictable, and certainly useful to understanding both projects.

Gothic Studies
Mason Harris

The Island of Doctor Moreau is the most Gothic of all Wells‘s scientific romances. Wells generates Gothic atmosphere by playing the positions of the opposing sides in the late-Victorian vivisection controversy against each other, making both seem true at the same time. In its use of the agony of vivisection as a metaphor both for biological evolution and socialization, this story reveals a physical disgust associated with the process of evolution itself, the full implications of which the characters will not acknowledge. The scientific objectivity championed by Moreau attempts to suppress the psychological problems implicit in the concept of animal inheritance, which would later be explored in Freud‘s metapsychology. Prendick, the narrator, cannot resolve his ambivalence both toward Moreau and his grotesque products, the Beast People. Prendick‘s uncertainty becomes the final horror of the story. Usually Wells‘s fantasy supports a scientific world-view, but here his normative, scientifically-minded narrator falls apart in a story which gives the true voice of science to a Gothic dominator.

Gothic Studies
Andrew Smith

true lesson provided by Renfield is that the human possesses an urge to release their inner animal. These themes are not specific to Dracula and we can witness them in Jekyll and Hyde , although arguably they are challenged in Wells’s The Island of Doctor Moreau (1896). Wells’s novel has been much discussed by scholars working in animal studies as it explores the manufacturing of a ‘humanity’ from animals parts – one which is undermined by the lingering forceful presence of the beast that lurks within

in Interventions
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Fin-de-siècle gothic and early cinema
Paul Foster

. Wells, H. G. (2005), The Island of Doctor Moreau , ed. P. Parrinder, London: Penguin. Wilde, O. (2003), The Picture of Dorian Gray , ed. R. Mighall, London: Penguin. Williams, K. (2007), H. G. Wells: Modernity and the Movies , Liverpool: Liverpool

in Monstrous media/spectral subjects
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Nature and spirit
David Punter

See H. G. Wells, The Island of Doctor Moreau , ed. Brian Aldiss (London: Everyman, 1993). 25 Georg Wilhelm Hegel, Lectures on the Philosophy of History (1830–31), trans. John Sibree (New York: Dover, 1956), p. 55. 26

in Ecogothic
Gill Haddow

known and achievable through implantable medical devices such as SynCardia’s Total Artificial Heart device and the possibility of 3-D bioprinting. I then describe in detail the results of the focus groups and survey before concluding with a reflection on what the preferences for human, then mechanical and finally animal options tell us about the ambiguity of embodiment and the Triad of I, that is, of identity, image and integrity. Xenotransplantation H. G. Wells wrote The Island of Doctor Moreau in 1896, describing how the ship-wrecked Prendick discovers an

in Embodiment and everyday cyborgs
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Emily Cock

Conan Doyle's ‘The Case of Lady Sannox’ (1894), the Lady is punished for her sexuality, and her vain surgeon lover for the ease with which he falls for assumptions of ‘Turkish’ mysticism and disfiguring brutality, by his being tricked into cutting off her lip, and his subsequent madness. 160 H. G. Wells’ allusion to rhinoplasty in The Island of Doctor Moreau (1896) serves his critique of the excesses of modern science: the Indian method is discussed casually by Moreau as a ‘common surgical operation resorted to in cases where the nose has been destroyed’ in his

in Rhinoplasty and the nose in early modern British medicine and culture
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Sexual surgery and Dracula
Marie Mulvey-Roberts

unawares’ (p. 249). H. G. Wells’ novel, The Island of Doctor Moreau (1896), appeared the year before Dracula and describes a female puma being vivisected for the purpose of being surgically transformed into a woman. In common with Lucy, the puma has been identified by literary critics as a New Woman figure. 109 In Stoker’s novel, a sick puma in a monkey house hearkens back to Dr

in Dangerous bodies
Frederick H. White

’s (1857–1924) Heart of Darkness (1899 serialized/1902 book), George Gissing’s (1857–1903) In the Year of the Jubilee (1894), Gerhard Hauptmann’s (1862–1946) Before Dawn (1889), Jack London’s (1876–1916) People of the Abyss (1903), Robert Louis Stevenson’s (1850–1894) The Strange Case of Dr Jekyll and Mr Hyde (1886), Bram Stoker’s (1847–1912) Dracula (1897), Thomas Hardy’s (1840–1928) Tess of the d’Urbervilles (1891), H.G. Wells’ (1866– 1946) The Island of Doctor Moreau (1896), Virginia Woolf ’s (1882–1941) Mrs Dalloway (1925), Emile Zola’s (1840–1902) Les Rougon

in Degeneration, decadence and disease in the Russian fin de siècle
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Marie Mulvey-Roberts

’s The Vampyre ; General Karnstein, whose name is taken from Sheridan Le Fanu’s Carmilla (1872); Mina Harker and a bride of Dracula from Stoker’s Dracula ; and Dr Moreau from H. G. Wells’ The Island of Doctor Moreau . Newman also turns Gothic writers into characters, who include Edgar [Allan] Poe; the novelist and journalist Sydney Horler, described as ‘a tub-thumper for the Mail’ (p. 53), whose

in Dangerous bodies