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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
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Rethinking closure in the Victorian novel
Vybarr Cregan-Reid

understand this new literary landscape. Howells’ desire to classify ‘this new kind in fiction’ is indicative of the significance of the shift in late-Victorian poetics.108 It suggests, at the very least, that ‘this new kind’ was representative of the beginnings of a much wider formal shift in literature itself. Furthermore, because literature is culturally and historically embedded, the corollary of Howells’ remark is that a ‘new kind in fiction’ also inaugurates a newer kind of world. This is not to say that the late nineteenth-century novel merely chose to represent

in Discovering Gilgamesh
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European displays of natural history and anatomy and nineteenth-century literature
Laurence Talairach-Vielmas

. This chapter will argue that objects related to natural history and anatomy informed the literature of the long nineteenth century, and underline the importance of material exchanges across cultural borders. Indeed, nineteenth-century novels, just like travel narratives, guidebooks and memoirs, contain many descriptions of visitors’ responses to displays of natural history or anatomy. The impact of these displays and objects is a striking feature of late-eighteenth-century and nineteenth-century travelling, and this

in Interventions
James Joyce’s Ulysses (1922)
Gerry Smyth

that adultery ‘haunts’ the nineteenth-century novel, although it does so in different ways and to different degrees in the various national traditions. Although English fiction after Richardson is obsessed with the role of marriage in securing patrilineal law, for example, adultery per se does not feature particularly strongly. The idea and the possibility are broached constantly: in the troubled relationships between Catherine Earnshaw and Heathcliff, Jane Eyre and Edward Rochester, Becky Sharpe and George Osborne, Dorothea Casaubon and Will Ladislaw, Bathsheba

in The Judas kiss
Reconceptualising British landscapes through the lens of children’s cinema
Suzanne Speidel

The question of the expressive capabilities of British landscapes on film has received particular attention in critical writing on contemporary heritage cinema. One prevailing critique of this genre explicitly renders its landscapes as empty of meaning by defining it in terms of pleasure – or more accurately, fetish. In this chapter I focus on one genre in which English landscapes are typically rendered through fantasy, intertextuality and pastiche, namely children’s cinema. With reference to a number of UK/US co-productions, such as the Harry Potter and Nanny McPhee films, I argue that the Englishness represented here is filtered through a wide range of visual allusions, such as the illustrations of nineteenth century novels, Disney animation, the paintings of L. S. Lowry, as well as British costume-drama traditions. Such films also present a series of hybridisations and blurred boundaries – between past and present, English and American landscapes, urban and pastoral settings – all of which render Englishness at once noticeable but otherworldly.

in British rural landscapes on film
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Sam Rohdie

Sicilian cadences, Visconti transforms the Sicilian speech into an aesthetic equivalent of music, of pure sound (since its meaning is impenetrable). If you like, it speaks of something ancient, rich, beautiful and full of colour. The fishermen of Aci Trezza are also the fishermen of the film La terra trema (like themselves but other than themselves) and as such they are figures from a nineteenth-century novel and from nineteenth-century opera, aestheticised versions of fishermen as their village is aestheticised into a film set and they into mythic creatures of an

in Film modernism
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Sam Rohdie

Frank Norris, Stephen Crane, Booth Tarkington, Ernest Hemingway and especially Dos Passos was a coarse-grained realism that tended to break into the measured and enclosed fictional worlds of the nineteenth century novel (Henry James). With Norris in particular, there is a mix of styles and moods, from documentary to the grotesque while with Dos Passos, the ‘real’ as it enters his novels does so as part of a plurality of

in Montage
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J. A. Smith

indirect discourse in the nineteenth century, Andrew Bennett argues that this ‘new narrative technology that above all other drives the development of the post-Romantic novel’ worked to clamber above the increasingly diverse and discordant character of modern society, in the hope of replacing the experience of irreducible ignorance that brought, with some sort of reassuring continuity. In Bennett’s view, a characteristic achievement of the liberal project of the nineteenth-century novel like Conclusion 157 Middlemarch can be understood as ‘a vast network of textuality

in Samuel Richardson and the theory of tragedy
Stefania Parigi

dreams’) of the 1940s were that kind of anti-novelistic dream at odds with the position taken by the Cinema group of Mario Alicata, Giuseppe De Santis and Luchino Visconti, whose model for a renewal of Italian cinema in a realistic direction was the nineteenth-century novel, Giovanni Verga pre-eminently. Singularly, this oscillation between weak and strong narration was destined to resurface after the war. Most of the Marxist

in Cinema – Italy
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Andrew Ginger and Geraldine Lawless

and Sexual Identity in Spain, 1850–1960 (Cardiff: University of Wales Press, 2009); Akiko Tsuchiya, Marginal Subjects: Gender and Deviance in Fin-de-siècle Spain (Toronto: University of Toronto Press, 2011).  7 For example: Manuel Pérez Ledesma (ed.), Trayectorias transatlánticas (Siglo XIX): Personajes y redes entre España y América (Madrid: Ediciones Polifemo, 2013); Elisa Martí-López, Borrowed Words: Translation, Imitation, and The Making of The Nineteenth-Century Novel in Spain (Lewisburg: Bucknell University Press, 2002); Henriette Partzsch, ‘The Complex

in Spain in the nineteenth century