Michael Eberle-Sinatra

Movies speak mainly to the eyes. Though they started talking in words some seventy years ago, what they say to our ears seldom overpowers or even matches the impact of what they show us. This essay proposes to read one more time the issue of homosexuality in Mary Shelley‘s first novel, Frankenstein. In order to offer a new angle on the homosexual component of Victor Frankenstein‘s relationship with his creature when next teaching this most canonical Romantic novel, this essay considers Shelley‘s work alongside four film adaptations: James Whale‘s 1931 Frankenstein, Whale‘s 1935 The Bride of Frankenstein, Richard O’Briens 1975 The Rocky Horror Picture Show, and Kenneth Branagh‘s 1994 Mary Shelley‘s Frankenstein. These films present their audience with original readings of their source material, readings that can be questioned with regards to their lack of truthfulness to the original works themes and characters.

Gothic Studies
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Felicity Chaplin

Nelly’s plight that his attitude towards her softens into narcissistic love. Like all such love in Poetic Realism, it is doomed from the outset, and this is depicted in the film in a shot of Jean and Nelly framed in a window, the jamb of which passes between the two, signifying the impossibility of their union. The mystery of Nelly’s sexuality, the ‘obscure guilt’ which seems reflected in every look she directs towards Jean, can be explained in part by the fact that on the occasion of their first meeting Jean assumes she is a prostitute (‘faire le turf?’). He later

in La Parisienne in cinema
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Elisabeth Bronfen

death or looks at him or herself. 51 The image in its function as double, eternalises the self even as it splits it, even as it confirms or signifies the self’s death. And because, as the vanitas convention exemplifies, a supreme form of self-reflection, a narcissistic love of one’s own image, often carries death’s signature, representations of

in Over her dead body
Metaphor and relation in the poetry of Ted Hughes and Sylvia Plath
Charles Mundye

poem recuperates a variation on the Ovidian theme of failed narcissistic love, identifying the symbolism of their future reflected back at them, the flower cut too soon a mirror of her own destiny, a part of the unrecognised image of the sacrilege of their spring ritual. ‘Perfect Light’ returns to this narrative with the sitter of the photograph captured amongst the daffodils with her two children, in

in Incest in contemporary literature
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Indira Ghose

grips of self-delusion in varying degrees is paraded before the audience. The ruler of Illyria appears as a melancholy poseur, gratifying an epicurean desire for a surfeit of pleasures. He is in the throes of a narcissistic love-affair that masks itself as love for Olivia: his dreams of the woman he loves consist in how she will love him, not how he might console her in her bereavement or give her

in Shakespeare and laughter
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Philosophy, theology, and French feminism
Sal Renshaw

destroyed as other’ (1986a: 71). Love of the other within this masculine economy is tantamount to little more than a narcissistic love of the self. It is a kind of love that reflects back on the subject, one that loves only that which returns as profit to the lover. As the dialectic implies, the net effect of the subordination of difference leads to the ‘Empire of the Selfsame’ (1986a: 78), and other-regarding love is effectively a contradiction in terms. Yet within this very history of masculine writing on love runs a deep vein of concern particularly about the role of

in The subject of love
Re-examining paradigms of sibling incest
Jenny DiPlacidi

exist are incomplete in part due to their reliance on Romantic and sentimental modes of understanding such relationships in the Gothic. 11 Romantic models of narcissistic love presume a heightened self-love often not present in Gothic heroines, while sentimental models of incest rely frequently on a post-coital discovery of kinship or an implicit didacticism that is rarely present in the genre. The

in Gothic incest