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Unspeakability in Vernon Lee‘s Supernatural Stories
Emma Liggins

Vernon Lees supernatural fiction provides an interesting test case for speculations about the function of spectrality for women writers on the cusp of the modern era. This article argues that spectrality, in line with Julian Wolfreys’ theories about the ‘hauntological disturbance’ in Victorian Gothic (2002), is both disruptive and desirable, informing the narratives we construct of modernity. It traces the links between the ‘unspeakable’ spectral encounter and contemporary attitudes to gender and sexuality in stories in Vernon Lees collection Hauntings (1890), as well as her Yellow Book story ‘Prince Alberic and the Snake Lady’ (1897). The ghostly encounter is erotic and welcomed as well as fearful, used to comment on the shortcomings of heterosexual marriage and bourgeois life, though this often results in the troubling spectacle of the ravished, mutilated or bloody female corpse. Lees negotiation of unspeakability and the desire for the ghostly is compared to the more graphic depictions of the dead female in stories from E. Nesbits Grim Tales (1893). Representations of the female revenant are considered in relation to the psychoanalytic readings of the otherness of the female corpse put forward by Elisabeth Bronfen (1992).

Gothic Studies
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A sourcebook 1700–1820
Editors: E.J. Clery and Robert Miles

The aim of this book is to make available a body of texts connected with the cultural phenomenon known as Gothic writing. The book includes many of the critical writings and reviews which helped to constitute Gothic as a distinct genre, by revisions of the standards of taste, by critique and by outright attack. Together, this material represents a substantial part of the discursive hinterland of Gothic. The chapters on supernaturalism, on the aesthetics of Gothic, and on opposition to Gothic contain a number of the standard references in any history of the genre. They are juxtaposed with other more novel items of journalism, religious propaganda, folk tradition, non-fictional narrative, poetry and so on. The book also includes chapters on the politics of Gothic, before and after the French Revolution. Therefore, it includes extracts from Tacitus and Montesquieu, the authorities that eighteenth-century commentators most often referred to. The story of Britain's Gothic origins, although implicitly progressivist, was to be re-fashioned in the cultural and sociological theories critical of modern society: that vital eighteenth-century trend known as primitivism. The book also broadly covers the period from the height of the Gothic vogue (in the mid-1790s) to the mid-nineteenth century. The author hopes that the book will encourage students to follow new routes, make new connections, and enable them to read set works on the syllabus in more adventurous and historically informed ways.

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Nature and spirit
David Punter

Algernon Blackwood was born in 1869 and died in 1951, and it has been said that he was one of the greatest English writers of ghost stories and supernatural fiction. That is not my comment but one made by H. P. Lovecraft, and it perhaps provides a rare opportunity to agree with something the egregious Lovecraft said. 1 Blackwood was also a writer of children

in Ecogothic
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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

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Doppelgängers and doubling in The Vampire Diaries
Kimberley McMahon-Coleman

. 7 ‘Blood Brothers’, 1.20. 8 ‘The Pilot’, 1.1. 9 Kindinger, ‘Reading Supernatural Fiction’, p. 17. 10 ‘Bloodlines’, 1.11. This scene is also

in Open Graves, Open Minds
Open Access (free)
Eric Pudney

action, while witches that are present throughout a play are trivialised. As noted above, Dolan also finds that the theatre ‘participated in the cultural process that gradually marginalised and discredited belief in witchcraft’.14 Scepticism plays a more prominent role in Ryan Curtis Friesen’s study of Supernatural Fiction in Early Modern Drama and Culture.15 This monograph, as the title suggests, covers more than just witchcraft, and sets out to deal with writings not normally considered fictional – such as the occult writings of Giordano Bruno, Heinrich Agrippa, and

in Scepticism and belief in English witchcraft drama, 1538–1681
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H. P. Lovecraft and the cinema
Julian Petley

, Grewsome Tales , suggests, was actually a parody, albeit a dark-hued one, of supernatural fiction of the more lurid kind. Its body horrors were, in fact, notably more explicit than those of most of Lovecraft’s other work, and Herbert West’s rhetorical question in Bride of Re-Animator – ‘What are people, over and above a collection of living body parts?’ – faithfully reflects the blackly anarchic

in Monstrous adaptations
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Gothic conspiracy and the eyes of Lara Means
Julia M. Wright

: Edinburgh University Press, 2005 ), ch. 4; Robert Miles, “The 1790s: the effulgence of the gothic,” in The Cambridge Companion to Gothic Fiction , ed. Jerrold Hogle (Cambridge: Cambridge University Press, 2002 ), pp. 57–58; E. J. Clery, The Rise of Supernatural Fiction, 1762–1800 (Cambridge: Cambridge University Press, 1995 ), who cites Paulson in this context (p

in Men with stakes
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

(Basingstoke and New York: Palgrave Macmillan, 2002), p. 10. 25 Price, ‘Ancient liberties?’, p. 20. 26 E.J. Clery, The rise of supernatural fiction, 1762–1800 (Cambridge: Cambridge University Press, 1995), p. 54. 27

in The gothic novel in Ireland, c. 1760–1829
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Anna Watz

See, e.g., Angela Carter (ed.), Wayward Girls and Wicked Women (London: Virago, 1986), and Jessica Amanda Salmonson (ed.), What Did Miss Darrington See? An Anthology of Feminist Supernatural Fiction (New York: The Feminist Press at CUNY, 1989). 25 Jonathan P. Eburne and Catriona McAra (eds), Leonora Carrington and the International Avant-Garde (Manchester: Manchester University Press, 2017). Eburne's monograph Surrealism and

in Surrealist women’s writing