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Making Sense of Hogg‘s Body of Evidence
Joel Faflak

This paper explores the occult relationship between modern psychoanalysis and the pre-Freudian psychoanalysis of James Hogg‘s 1824 Gothic novel, The Private Memoirs and Confessions of a Justified Sinner. Haunted by the ghosts of Mesmerism and of Calvinisms rabidly contagious religious fervour, Hogg‘s novel explodes post-Lockean paradigms of the subject for a post-Romantic British culture on the eve of the Empire. Turning back to Scotland‘s turbulent political and religious history, the novel looks forward to the problems of Empire by turning Locke‘s sense-making and sensible subject into the subject of an unconscious ripe for ideological exploitation, a subject mesmerized by the process of making sense of himself.

Gothic Studies
Madness, Mimicry and Scottish Gothic
Scott Brewster

This essay draws on Julia Kristeva‘s concept of ‘borderline’ experience, a feature of psychotic discourse, to examine the representation of madness, split personality and sociopathic behaviour in James Hogg‘s The Private Memoirs and Confessions of a Justified Sinner and the contemporary, muted Gothic of John Burnside‘s The Locust Room (2001). The main characteristics of borderline experience - a concern with authenticity and the proper name, with uncertain boundaries between inside and outside, truth and delusion - are central concerns in Hogg and Burnside, and the essay assesses the value of borderline discourse for a critical reading of madness in Gothic.

Gothic Studies
Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison

portrayed, one that is phallocentrically ‘made not born’, manufactured by ideas and grotesquely devoid of an ‘ethic of care’. In this damning portrait of tyranny and despotism, Scotland stands out as a beacon of imaginative and intellectual freedom for women. Banks and Gray Drawing strategically on Shelley’s Frankenstein and such other classic Gothic works as James Hogg’s chillingly modern psychological portrait, The Private Memoirs and Confessions of a Justified Sinner (1824), Iain Banks’s 1984 succès de scandale

in Adapting Frankenstein
Thomas Edison’s Frankenstein and John Barrymore’s Dr Jekyll and Mr Hyde
Richard J. Hand

legend and poetry, and the recent scientific experiments of Luigi Galvani and Erasmus Darwin; Dr Jekyll and Mr Hyde in its turn is unthinkable without James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) and the true story of the double life of the Edinburgh criminal Deacon Brodie. Both works would find themselves the inspiration for many examples of adaptation into a

in Monstrous adaptations
Sarah Annes Brown

marker. A central text for any study of the Gothic double is James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824). The novel’s complex plot hinges around Robert Wringhim, who is haunted by a mysterious double, the devilish Gil-Martin. Events in the narrative are shrouded in ambiguity and we are never quite sure whether Gil-Martin simply incites Robert to murder his own

in A familiar compound ghost
The academy and the canon
Damian Walford Davies

Percy Shelley’s imagery and a consideration of the scientific background to Frankenstein.13 The latter also figures as ‘gothic’, alongside Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824), present also as an example of Scottish literature. Under that heading, Scott has to be present both as novelist and poet. And the move away from the stylistic preferences of the ‘Romantic Revolution’ will be confirmed by a section devoted to ‘The Poetics of Sensibility’. But under this rubric, writers such as Charlotte Smith, Mary Robinson and Felicia Hemans

in Counterfactual Romanticism
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The most Gothic of acts – suicide in generic context
William Hughes and Andrew Smith

Confessions of a Justified Sinner , ed. Adrian Hunter (Peterborough, Ont: Broadview, 2001), pp. 221–2; Robert Louis Stevenson, Strange Case of Dr Jekyll and Mr Hyde , ed. M. R. Ridley (London: Dent, 1964), p. 62; Olivia Waring, ‘With the Lights Out: How Did Kurt Cobain Die, What Did His Suicide Note Say and What Are the Theories about the Nirvana Rocker’s Death?’, Sun , 4 August 2017, available online at www.thesun.co.uk/tvandshowbiz/4161956/how-kurt-cobain-die-suicide-note/ , accessed 7 March 2018. 25 Whatever the niceties observed by the

in Suicide and the Gothic
Frankenstein’s queer Gothic
Mair Rigby

pore’ (43). James Hogg’s 1824 novel The Private Memoirs and Confessions of a Justified Sinner (Oxford and New York: Oxford University Press, 1999) contains another striking example when Wringhim first meets Gil-Martin: ‘I felt a sort of invisible power that drew me towards him, something like the force of enchantment, which I could not resist. As we approached each other

in Queering the Gothic
Simon Kővesi

’s The Private Memoirs and Confessions of a Justified Sinner (1824), as he explains in 1985: So you have someone saying ‘He walked across the hill and BUMP Jill stuck the axe in the head, you know.’ And you start to say ‘Well how did you write it down, if there’s an axe in your head? Was that your dying breath?’ That type of problem, for instance, is a genuine problem in the sense that people have to tackle it – James Hogg has to tackle it. Wringhim – I mean what happens there? because that is the I-voice, right, and you find out the guy has

in James Kelman
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The double and the single woman
Catherine Spooner

and deal with masculine angst rather than feminine imprisonment. These range from early examples such as William Godwin’s Caleb Williams (1794) and James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824), through Edgar Allan Poe’s ‘William Wilson’ (1839), to classic fin-de-siècle manifestations of the theme such as Robert Louis Stevenson

in Fashioning Gothic bodies