BACKSCHEIDER, Paula R. "Reflections on the Importance of Romantic Drama," Texas Studies in Literature and Language 41:4 (1999): 311-329. Part of a special issue containing proceedings from a symposium entitled "Romantic Drama in Place: Geography, Scene, Milieu." The writer looks at romantic drama in England in 1797. After describing what live theater was like at this time, she resituates the major romantic playwrights within this world, focusing particularly on Wordsworth and his play The Borderers. She concludes by providing a list of significant issues that remain to be definitively addressed. Among these issues is the question of how swiftly the great romantic poets' hyper-consciousness of the mental structures that decide human actions became part of the thinking, plot, and character elements on the stage.

BACKUS, Margot Gayle. "Homophobia and the Imperial Demon Lover: Gothic Narrativity in Irish Representations of the Great War," Canadian Review of Comparative Literature 21:1-2 (1994): 45-63.Compares Gothic narrativity in Wilde's Picture of Dorian Gray to homosexual themes in Frank McGuinness's Observe the Sons of Ulster Marching Toward the Somme and Jennifer Johnston's How Many Miles to Babylon?

BACKUS, Margot Gayle.The Gothic Family Romance: Heterosexuality, Child Sacrifice, and the Anglo-Irish Colonial Order. Durham, NC: Duke University Press, 1999.

BADLEY, Linda. Writing Horror and the Body: The Fiction of Stephen King, Clive Barker, and Anne Rice. Westport, CT: Greenwood Press, 1996.

BAER, Surella."The Gothic Garden: Jane Eyre to Rebecca." M.A. Thesis, Queens College, NY, 1998.

BAGCHI WILLIAMSON, Nivedita. "Reinscribing Genres and Representing South African Realities in Nadine Gordimer's Later Novels (1977-1994)" Dissertation Abstracts International 59:6 (1998): 2017 (Boston University). On such works as Burger's Daughter, July's People, A Sport of Nature, My Son's Story, and None to Accompany Me by the South African novelist, Nadine Gordimer. By working within the bounds of familiar conventions and traditional genres--the bildungsroman, the gothic, colonial travelogues, holcaust narratives, the picaresque, and so on--Gordimer simultaneously conveys her message to a mainstream audience and manages to evade South Africa's strict censorship laws."

BAILEY, Dale Frederick. "The Haunted House Formula in American Fiction," Dissertation Abstracts International 59:1 (1998): 168A (University of Tennessee).Traces the generic roots of the haunted house story of the European gothic tradition to its flowering in Edgar Allan Poe's "The Fall of the House of Usher" and Nathaniel Hawthorne in The House of the Seven Gables. "These embryonic haunted house tales can be distinguished from traditional ghost stories--as practiced by Henry James and Edith Wharton--by their reduced ambiguity, their focus on the family, and their exclusion of traditional ghosts in favor of a malign and self-conscious house." Has material on Jay Anson's Amityville Horror, Charlotte Perkins Gilman,Shirley Jackson, Robert Marasco, Anne Rivers Siddons, and Stephen King's The Shining.

BAILEY, Dale. American Nightmares: The Haunted House Formula in American Popular Fiction. Bowling Green, OH: Bowling Green University Popular Press, 1999. Contains the following chapters: "Welcome to the Funhouse: Gothic and the Architecture of Subversion"; "The Sentient House and the Ghostly Tradition: The Legacy of Poe and Hawthorne"; "June Cleaver in the House of Horrors: Shirley Jackson's The Haunting of Hill House"; "'Too Bad We Can't Stay, Baby': The Horror of Amityville"; "Middleclass Nightmares: Robert Marasco's Burnt Offerings and Anne Rivers Siddons' The House Next Door"; "Unmanned by the American Dream: Stephen King's The Shining"; "Ghosts in the Machine: The Future of the Haunted House Formula."

BAINES, Paul. "'This Theatre of Monstrous Guilt': Horace Walpole and the Drama of Incest," Studies in Eighteenth Century Culture 28 (1999): 287-309. A study of Horace Walpole's Gothic drama, The Mysterious Mother. "While a psychoanalytic or personal reading of the play can only envisage it as a direct expression of Walpole's mental life, conscious or unconscious, the realization of the play as a collective document should stress to us that the play is open to different kinds of engagement. Its intense portrayal of family trauma, its fascination with verbal power, and its intertextual fusion of Greek and French dramatic material in a new Gothic form should point us beyond the temptation to reduce the play to a document of self-recognition."

BAINES, Paul, ed. Five Romantic Plays, 1768-1821. See under: Anthologies. Includes Walpole's The Mysterious Mother and Baillie's De Monfort.

BAKER, Christopher P. "Spirits of London Past," The Australian Way 1 December 1995, p. 52-[data] In modern-day London it is still possible to get immersed in the gothic city that a century ago inspired the great English novelist Charles Dickens. The article tours Dickens's Gothic places.

BAKER, Joanne Claire. "Between States: The writing of Elizabeth Bowen." Dissertation Abstracts International 62:4 (2001): 503 (Queen's University of Belfast). "A reading of the gothic inflection in the work is offered as a suitably accommodating framework within which to approach its liminal and transgressive qualities. Chapter One considers Bowen's relation to the Irish Gothic, indicating ways in which her work can be read as a gothicised articulation of taboos and anxieties." Concludes that Bowen's work represents a retreat from authoritative narrative and a privileging of the plural and marginal, "and that it is the work's Gothic qualities, rather than formal or stylistic experimentation, which represent the attempt to articulate this difficult position."

BALAAM, Peter. " ' Misery's mathematics ': Mourning, Compensation and Reality in Emerson, Warner and Melville," Dissertation Abstracts International 61:5 (2000): 1836 (Princeton University). Chapters Four and Five study the practice of mourning as a source of fascination for the narrators in several Melville's Piazza tales. "Consistent with his other works of the time, these tales turn on a gothic element of unveiling, in which his secure narrators end by being haunted by the image of suffering they encounter.

BALDICK, Chris & Robert MORRISON, eds. Tales of Terror from Blackwood's Magazine. See under: Anthologies of Gothic Fiction.

BALDICK, Chris. "The End of the Line: The Family Curse in Shorter Gothic Fiction," Exhibited by Candlelight: Sources and Developments in the Gothic Tradition, eds. Valeria Tinkler Villani, Peter Davidson, Jane Stevenson. Amsterdam: Rodopi, 1995, 147-57. Examines the "theme of dynastic extinction" in the shorter Gothic tale using Poe's "The Fall of the House of Usher" as a thematic model.Focuses on the anonymous shocker "The Astrologer's Prediction; or, The Maniac's Fate," Elizabeth Gaskell's "The Old Nurse's Story," Arthur Conan Doyle's "The Adventure of the Speckled Band," and Robert Louis Stevenson's "Olalla."

BALDICK, Chris. "The Politics of Monstrosity," Frankenstein/Mary Shelley, ed. Fred Botting. New York: St. Martin's Press, 1995, pp. 48-67.

BALDICK, Chris, ed. The Vampyre and Other Tales of the Macabre. see under: New Anthologies of Gothic Fiction.

BALDICK, Chris. "Introduction" to Melmoth the Wanderer. See under New Anthologies of Gothic Fiction.

BALDICK, Chris and Robert MIGHALL. "Gothic Criticism," A Companion to the Gothic, ed. David Punter. Oxford, UK & Malden, MA: Blackwell Publishers, 2000, 209-228. A sort of anti-reading or iconoclastic riposte to all the findings and positions of twentieth century Gothic criticism as laid down by Montague Summers, Devendra P. Varma, and even the editor of the volume in which this essay appears, David Punter. Also cashiered for their misreadings of straightforward, scary texts are Maurice Lévy and Leslie Fiedler, two critics who have permitted history to "collapse" into psychology. Intending to correct or eradicate the "critical illusions" perpetrated by these critics and others, the essay launches its attack from the position that "Gothic criticism serves less to illuminate a certain body of fiction than to congratulate itself, on behalf of progressive modern opinion, upon its liberation from the dungeons of Victorian sexual repression or social hierarchy. We shall call the central feature of this tendency the 'anxiety model' and explain why this offers the clearest support for our claim that Gothic Criticism now functions as a 'Gothic' form of discourse in its own right, compelled to reproduce what it fails to understand." Critical writing on Stoker's Dracula is cited as a demonstration of such misguidance. By adapting Elizabeth Napier's approach to the misreading of Gothic fiction in her Failure of the Gothic to the criticism, the essayists reopen some important doors which probably should never have been sealed in the first place, although like most iconoclasts, Baldick and Mighall tend to smash the building with the idol. Is it completely fair minded to state that "Gothic fiction is essentially Whiggish" or that its elements of psychological depth and political subversion are false values superimposed upon it by overreading and overreaching critics, or (most blatantly) that "Gothic criticism has done little to define the nature of Gothic fiction except by the broadest kinds of negation?" Nevertheless, the essay is one of the most stimulating in the Punter volume. Beholding his castle under siege, Montague Summers himself would have savored the chance to reply in the columns of the TLS.

BALLASTER, Ros. "Wild Nights and Buried Letters: The Gothic 'Unconscious' of Feminist Criticism," Modern Gothic: A Reader, eds. Victor Sage and Allan Lloyd Smith. Manchester & New York: Manchester UP, 1996. pp.58-70.

BALLINGER, Leonora M. "'Apparitions and Night Fears': Psychological Tension in 'The Ghostly Tales of Henry James'," Dissertation Abstracts International, 57:8 (1997): 3490A (New York University). Examines James's "heavy use of gothic motifs in the early stories to more subtle methods intermingling the supernatural and the psychological in later tales. "The Turn of the Screw," "The Last of the Valerii," "The Altar of the Dead," "Private Life," "Nona Vincent."

BANN, Stephen, ed. Frankenstein, Creation, and Monstrosity. London: Reaktion Books, 1994.

BANTA, Martha. "The Ghostly Gothic of Wharton's Everyday World," American Literary Realism, 27:1 (1994): 1-10. Includes Ethan Frome as a study in Gothic effects. Relying on the "chill factor" evokes by ghostly mystery, "Wharton repositioned the Gothic within the everyday modern world directing her findings toward surrealistic intrusions like those imaged by Réne Magritte whose paintings possess the same 'I can't get out of this nightmare!' effect." Studies the short story "Afterward" and the "Gothic novella" Ethan Frome.

BARBOUR, David. " Moonlight & Madness," Lighting Dimensions 25:3 (2000): 36. Charlotte Brontë's Jane Eyre offers Gothic romance and an innovative design.

BARBOUR, Judith. "Dr. John William Polidori, Author of the Vampyre," Imagining Romanticism: Essays on English and Australian Romanticisms, eds. Deidre Coleman, Peter Otto. West Cornwall, CT; Locust Hill, 1992, pp. 85-110.

BARBOUR, Judith. " ' The meaning of the tree ': The Tale of Mirra in Mary Shelley's Mathilda" In Iconoclastic Departures: Mary Shelley After Frankenstein: Essays in Honor of the Bicentenary of Mary Shelley's Birth, Eds. Syndy M. Conger, Frederick S. Frank, Gregory O'Dea. Madison, NJ. Fairleigh Dickinson UP, 1997: 98-114.

BARDIN, Barbara. "Clara Reeve," Eighteenth-Century Anglo-American Women Novelists: A Critical Reference Guide, eds. Doreen Alvarez Saar, Mary Anne Schofield. New York: G. K. Hall, 1996, [data].

BARFOOT, C.C. "The Gist of the Gothic in English Fiction; or, Gothic and the Invasion of Boundaries," Exhibited by Candlelight: Sources and Developments in the Gothic Tradition, eds. Valeria Tinkler Viviani, Peter Davidson, Jane Ste-venson. Amsterdam: Rodopi, 1995. 159-172. Puns on the words "gist" and "jest" to make the point that "the gist of the Gothic may be regarded principally as an element of mystery designed to upset our everyday lives and move us in new creative directions. The Gothic highlights cultural encroachment and the invasion of boundaries." Analysis includes Dickens and George Eliot.

BARIDON, Michel. "Les Figures du corps et leur rapport à 1'espace dans The Monk de Lewis" In Les Figures du corps dans la littérature et la peinture anglaises et américaines de la renaissance à nos jours, Ed. Bernard Brugière. Paris: Pres. de la Sorbonne, 1991, pp. 81-92. ["The Figures of the Body and Their Relationship to Space in Lewis's The Monk"]

BARIDON, Michel. "The Gothic Revival and the Theory of Knowledge in the First Phase of the Enlightenment," Exhibited by Candlelight: Sources and Developments in the Gothic Tradition, eds. Valeria Tinkler Villani, Peter Davidson, Jane Stevenson. Amsterdam: Rodopi, 1995, pp. 43-56. On the principles of the Gothic revival as asserted in the buildings of Walpole, Vanbrugh, and Sanderson Miller. "But the great difference between the true Gothicists and the occasional Gothicists--Kent, Batty Langley, and their imitators--was that the former understood that irregularity lay at the core of the Gothic."

BARIDON, Michel. "Entre architecture et paysage: Le Gothique au jardin," Caliban 33 (1996): 5-16. [Between architecture and landscape: Gothic in the garden]

BARRON, Neil, ed. Fantasy and Horror: A Critical and Historical Guide to Literature, Illustration, Film, TV, Radio, and the Internet. Lanham, MD: Scarecrow/UPA, 1998. An extensive revision and expansion of Barron's Horror Literature: A Reader's Guide published by Garland in 1990. Divided into two large sections, "The Primary Literature" containing eight chapters and "The Secondary Literature and Research Aids" containing ten chapters: 1. Frederick S. FRANK, "The Early and Later Gothic Traditions, 1762-1896"; 2. Dennis M. KRATZ, "The Development of the Fantastic Tradition Through 1811"; 3. Brian STABLEFORD, "Fantasy in the Nineteenth Century, 1812-1899"; 4. Brian STABLEFORD, "Early Modern Horror Fiction, 1897-1949"; 5. Brian STABLEFORD, "From Baum to Tolkien, 1900-1956"; 6. Stefan DZIEMIANOWICZ, "Contemporary Horror Fiction, 1990-1998"; 7. Darren HARRIS-FAIN, "Contemporary Fantasy, 1957-1998"; 8. Steve ENG, "Fantasy and Horror Poetry"; 9. Neil BARRON, "Fantasy and Horror Literature in Libraries"; 10. Neil BARRON and Michael E. STAMM, "Reference Sources and Online Resources"; 11. Gary K. WOLFE, "History and Criticism"; 12. Richard C. WEST, Fiona KELLEGHAN, and Michael A. MORRISON,"Author Studies"; 13. Michael KLOSSNER, "Horror, Fantasy, and Animation in Film, Television, and Radio"; 14. Walter ALBERT and Doug HIGHSMITH, "Fantasy and Horror Art and Illustration"; 15. Dennis M. KRATZ, "Teaching Fantasy and Horror Literature"; 16. Robert MORRISH and Mike ASHLEY, "Fantasy and Horror Magazines"; 17. Neil BARRON, "Library Collections"; 18. Neil BARRON, "Listings: Best Books, Awards, Series, Young Adult and Children's Books, Translations, Organizations, Conventions." Also has an appendix, "Sources of Information on Fiction and Poetry Authors" and three indexes, Author/Subject Index, Title Index, Theme Index, and an introduction, "The Return to Fantasy" by David G. HARTWELL. Much of the material will hold little or no value for students of Gothicism or even marginal Gothicism since the stress is clearly on the fantastic with the Gothic (as has often been the case with reference works) reduced to a subcategory of fantasy. In addition to the opening chapter, "The Early and Later Gothic Traditions, 1762-1896," Brian Stableford's "Early Modern Horror Fiction, 1897-1949," Stefan Dziemianowicz's "Contemporary Horror Fiction, 1950-1998," and Steve Eng's "Fantasy and Horror Poetry" contain material of interest to students of the Gothic at various levels. The chapters on "Secondary Literature and Research Aids" are too narrowly selective in their inclusion and exclusion of important critical titles to be of much use to researchers already acquainted with the content of GGI and GGII. Barron's Preface explains his decision to reduce the volume's coverage of the Gothic based on his "considered judgment of the relative importance of, and interest by today's readers in, the traditional Gothic literature." Perhaps a judgment based on new, revised, and reprinted works of Gothic criticism would have resulted in a better balance between bright and dark fantasy than is now present in this second edition of Fantasy and Horror. See under the names of individual authors for annotations of the chapters.

BARRON, Neil. "Fantasy and Horror Literature in Libraries," Fantasy and Horror: A Critical and Historical Guide to Literature, Illustration, Film, TV, Radio, and the Internet. Lanham, MD: Scarecrow/UPA, 1998, 429-434. Provides information on horror publishers in North America and the United Kingdom as well as journals reviewing horror fiction.

BARRON, Neil Barron and Michael E. STAMM, "Reference Sources and Online Resources," Fantasy and Horror: A Critical and Historical Guide to Literature, Illustration, Film, TV, Radio, and the Internet. Lanham, MD: Scarecrow/UPA, 1998, 435-451. Has 35 entries, but only two of these fall under "Gothic Literature." The section by STAMM on online resources is not in entry format and difficult to use. He does correctly note of internet Gothic that "a search looking for anything 'Gothic' will result more likely than not in any number of hits having to do with dark apparel, black leather, tattooing and body-piercing, and other aspects of this strange spinoff from punk and heavy-metal music culture." No mention of such key Gothic novel websites as that of Jack Voller and Franz Potter.

BARRON, Neil. "Listings; Best Books; I. The Early and Later Gothic Traditions, 1764-1896," Fantasy and Horror: A Critical and Historical Guide to Literature, Illustration, Film, Radio, and the Internet. Lanham, MD: Scarecrow/UPA, 1999, 658. Extrapolates 60 novels, plays, and short stories as "best" Gothic works. The date 1764 should be 1762 in the title of the section.

BARROS, Carolyn A. & Johanna M. SMITH. "Ann Radcliffe" In Life-writings by British women, 1660-1815: An Anthology. Boston : Northeastern University Press, 2000: [data].

BARTH, Marilyn. "Exploring the Book Arts Through one Fine Copy of The Castle of Otranto" In The English Novel, Eds. Susan Spencer, Margo Collins. New York: AMS Press, 2001: 287-310.

BATCHELOR, Rhonda. "The Rise and Fall of the Eighteenth Century Feminine Voice," Eighteenth-Century Fiction, 6:4 (1994): 347-368.

BAUER, Ralph. "Between Repression and Transgression: Rousseau's Confessions and Charles Brockden Brown's Wieland" American Transcendental Quarterly 10:4 (1996): 311-329.

BAZIN, Claire. "Le nouveau gothique de Charlotte Brontë," Une Littérature de l'inquiétude. Paris: l'Harmattan & Aix-Marseille, Université de Provence, Annales du Monde Anglophone 8 (1998): [data]. [The new Gothic of Charlotte Brontë]

BEAHM, George W., ed. The Unauthorized Anne Rice Companion. Kansas City, MO: Andrews & McMeel, 1996.

BEAHM, George W., ed. Stephen King: America's Best Loved Bogeyman. Kansas City, MO: Andrews & McMeel, 1999.

BECK, Rudolph. " ' The Region of Beauty and Delight:' Walton's Polar Fantasies in Mary Shelley's Frankenstein." Keats-Shelley Journal 49 (2000): 24-29. Identifies the Miltonic source for Walton’s polar fantasies. "Walton’s prelapsarian fantasies give prominence to his similarities with Frankenstein." Both characters are driven by "the same kind of absolutist utopian desire."

BECKER, Matthew. "Enlightenment Psychomachia: The Embattled Child in Radcliffe's Gothic Romance and Wordsworth's 'Immortality Ode,'" Dissertation Abstracts International 60:6 (1998): 2035 (University of Southern California). Develops and argument connecting Wordsworth's "Ode: Intimations of Immortality from Recollections of Early Childhood" and Mrs. Radcliffe's Gothic romances. Both "portray debilitating itineraries for the child that Freudian and Lacanian critics thoroughly naturalize." Taking exception to such naturalization, argues "that writers of the British Enlightenment poets, philosophers, novelists create the horizon of expectations within which the progress of the child and his or her resultant psychic organization as heralded in Radcliffe's Gothic romance and Wordsworth's Immortality Ode appear as ineluctable fact."

BECKER, Susanne. "Ironic Transformations: The Feminine Gothic in Aritha Van Herk's No Fixed Address," Double Talking: Essays on Verbal and Visual Ironies in Contemporary Canadian Art and Literature, ed. Linda Hutcheon. Toronto: ECW, 1992, pp. 115-133.

BECKER, Susanne. "Postmodern Feminine Horror Fictions," Modern Gothic: A Reader, eds. Victor Sage and Allan Lloyd Smith. Manchester & New York: Manchester UP, 1996. pp. 71-80.

BECKER, Susanne. Gothic Forms of Feminine Fiction. Manchester: Manchester UP, 1999.

BEHR, Kate Elizabeth. "The Perfect Gentleman; The Representation of Men in the English Gothic Novel, 1762-1820," Doctoral Thesis, Oxford University, 1993.

BEHR, Kate E. The Representation of Men in the English Gothic Novel, 1762-1820. Lewiston. NY: Edwin Mellen Press, 2002.

BEHRENDT, Stephen. "Frankenstein, and the Woman Writer's Fate," Romantic Women Writers: Voices and Countervoices, eds. Paula R. Feldman, Theresa M. Kelley. Hanover, NH: UP of New England, 1995, pp. 69-87.

BELFORD, Barbara. Bram Stoker: A Biography of the Author of Dracula. New York: Knopf, 1996.

BELYEA, Andrew Dean. "Redefining the Real: Gothic Realism in Alice Munro's 'Friend of my Youth,'" Master's Abstracts International 37:1 (1998): 67 (Queen's University, Kingston, Canada). "Alice Munro's 1990 collection of short stories, Friend of My Youth, belongs to an emerging sub-genre known as Southern Ontario Gothic. Each of the seven Southern Ontario stories examines dark psychological states, and each features ambiguous villains and an irresolute ending reflecting the protagonist's obscured sense of reality. Munro uses recognizably Gothic conventions, but the aspect of the Gothic that is most relevant to these stories is its tendency to put in question whether the terrors and disturbances that it trades in are predominantly objective or subjective, real or imagined."

BENEDICT, Barbara M. "Pictures of Conformity: Sentiment and Structure in Ann Radcliffe's Style." Philological Quarterly 68 (1989), 363-77.

BENNETT, Betty T. Mary Wollstonecraft Shelley: An Introduction. Baltimore: Johns Hopkins University Press, 1998.

BENRAHHAL-SERGHINI, El-Habib. "The Road to Istakhar: A Critical Study of the Text and Context of William Beckford's 'Vathek' and the 'Episodes', 1760-1844," Dissertation Abstracts International 55:9 (1995): 2839A (Universitaire Instelling Antwerpen). Focuses on the "ideology of power" in Vathek and the Episodes. Also examines 'the affiliations that Vathek and the Episodes may have with the Gothic tradition." Beckford emphasizes the relationship between the creative imagination and the ideology of power in these works.

BENTMAN, Raymond. "Horace Walpole's Forbidden Passion," Queer Representations; Reading Lives, Reading Cultures, ed. & intro. Martin Duberman.. New York: NYU Press, 1997, pp. 276-289. On homophobic themes in The Castle of Otranto.

BERENSTEIN, Rhona J. Attack of the Leading Ladies: Gender Sexuality and Spectatorship in Classic Horror Cinema. New York: Columbia UP, 1996.

BERGLUND, Birgitta. Woman's Whole Existence : The House as an Image in the Novels of Ann Radcliffe, Mary Wollstonecraft, and Jane Austen. Lund, Sweden: Lund UP: Bromley, Kent, UK; Chartwell-Bratt, 1993.

BERGLUND, Birgitta. "Ann Radcliffe and Rebecca," Studia Neophilologica, 68:1 (1996): 73-81.

BERKEY-ABBOTT, Kristin Lee. " ' My Relations Act with me as my Enemies:' Domestic Violence as Metaphor, 1794-1850." Dissertation Abstracts International 53:8 (1992): 2822A. (University of South Carolina). Examines six Gothic works, Radcliffe's The Mysteries of Udolpho, Lewis's The Monk, Shelley's The Cenci, Dickens's Oliver Twist, Charlotte Brontë's Jane Eyre, and Emily Brontë's Wuthering Heights. Referring to patterns of domestic violence, "these works begin to appear strikingly realistic. Moreover, these authors used domestic violence in their works to critique patriarchal institutions such as the Church, education, and marriage. By creating characters that overcame their oppression, these authors gave readers a stunning alternative to messages offered to them by their society."

BERNARD-GRIFFITHS, Simone & Jean SGARD, eds. Mélodrames et romans noirs. Toulouse: Presses de l'Université Toulouse-Le Mirail, 2000. Studies the influence of the French Gothic or roman noir on melodramas. The essays in the collection note common themes and a common rhetoric of excess. Contents: Preface by Jean Sgard; Sommeil Lourd (1760-1800). La moralité de la Révolution ou cris, larmes, crimes et outrances d'un 'Bâtard de Melpomène'. Remarques sur la phraseologie du melodrame" by Jacques Philippe Saint-Gérard; Mélodrame et roman noir dans le théâtre révolutionnaire inédit de Mme de Staël: le cas de Rosamonde (1791) by Danielle Johnson-Cousin; Un mélodrame d'Olympe de Gouges ou le noir impossible by Antoine Court; Les Mystères d'Udolpe: mélodrame avant la lettre? by Chantal Tatu; Le Marquis de Gange: un récit et un mélodrame by Jamel Guermazi; Jours de colère (1800-1830). Beaumarchais aux origines du mélodrame by Béatrice Didier; Coelina, de Ducray-Duminil à Pixerécourt à l'aube de la "littérature industrielle" by Claire Gaspard; Des bords du Danube au théâtre de L'Ambigu-Comique, un héros à transformations: Théléki by Antoinette Ehrard; Drame,Mélodrame et musique: Victor Hugo à la Porte-Saint-Martin by Emilio Sala; Han d'Islande: le roman noir en tant que réponse au relativisme by Mark K. Jensen; Le théâtre de Dumas père: entre le drame et le mélodrame ou les avatars d'un genre français en Espagne by Dolorès Jimenez; Idéologie et société dans deux drames d'Eugène Scribe: Rodolphe et Dix ans de la vie d'une femme by Claude Benoit; La dramaturgie "frénétique" de J. Bouchardy by Jean-Marie Thomasseau; Espaces et lueurs. Pathétisme et hybridation des genres dans les didascalies des mélodrames de Pixécourt by Élena Réal; Le Bossu, de Paul Féval, passage du roman au mélodrame by Angels Santa; L'importance du paysage sauvage dans l'évolution de l'indépendance et de la fraternité pour l'héroïne du roman noir et du mélodrame by Angela Wright; Le thème du feu dans le roman gothique et le mélodrame classique by John Dunkley; La mine suédoise comme espace mélodramatique by Maria Waleska-Garbalinska;Mélodrame et carnaval ou les contre-codes du roman noir by Maurice Lévy; Figures de cauchemar. Les folles by Jjean Sgard; Le moine scélérat: un ancêtre du traitre mélodra-matique by Catherine Langle; Le vampire: du roman au mélodrame by Max Milner; Le vampire: surdétermination d'un thème chez Nodier by Marilia Marchetti; Un (mélo)drame romantique exemplaire: La Nonne sanglante (1835) by Patrick Berthier; La guillotine entre mélodrame, roman noir et humour by Roger Bellet; Le diable dans les salons. A propos du mélodrame Mathilde, de Félix Pyat et d'Eugène Sue by Guy Sabatier;Lendemains noirs. De l'imaginaire romanesque noir à la nouvelle symbolique de la voix by Gérard Loubinoux; Aspect du roman gothique: la confession féminine dans les romans de Sand by Michèle Hecquet; Utilisation, récupération et détournement du roman noir dans les Chants de Maldoror by Hélène Millot; La trilogie de Jules Vallès. Du roman populaire à l'autobiographie by L. Disegni; L'inspiration noire et mélodramatique de Jules Vallès by François Marotin; Gothique et histoire: l'écriture du sens chez Barbey d'Aurevilly by Pascal Jonchière.

BERTHIN, Christine. "Family Secrets and a Shameful Disease: 'Aberrations of Mourning' in Frankenstein," QWERTY: Arts, Littératures, and Civilisations, du Monde Anglophone, 3 (1993): 53-60.

BERTSCHE, Allen Parker-Suarez.The Unseen spectre: The Gothic mode in nineteenth century Spanish narrative." Dissertation Abstracts International 61:8 (2000): 359 (University of Wisconsin, Madison). This dissertation investigates the Gothic mode in Spanish nineteenth-century narrative. Chapters One and Two define the Gothic as a literary mode and delineate its fundamental traits. The second stage of this dissertation is a series of textual analyses of works from the Spanish Romantic movement. These analyze works by Jose Espronceda, Gustavo Adolfo Becquer, Jose Zorrilla y Moral, and Enrique Ramirez de Saavedra Cueto Remirez de Baquedano y Ortega. Offers "a response to prior scholarly commentaries on the Gothic in Spain which have minimized or disavowed the mode's presence, and gives a final appraisal of the unique nature of Spanish Gothic."

BESSON, Françoise. "Une Mathematique de l'eau étrange dans Romance of the Pyrenees," Caliban, 33 (1996): 63-71. On Catherine Cuthbertson's Romance of the Pyrenees (1803). [A mathematics of the strange water in Romance of the Pyrenees]

BEUTEL, Katherine Piller. "Disembodied and Re-Embodied Voices: The Figure of Echo in American Gothic Texts," Dissertation Abstracts International, 54 (1994): 4090A (Ohio State). Examines Faulkner's As I Lay Dying, Flannery O'Connor's The Violent Bear It Away, and Toni Morrison's Beloved. These novels are directly related to The Monk, Wieland, and Dracula in the ways in which they "use disembodied voices to unsettle readers.

BEUTEL, Katherine Piller. "Gothic Repetitions: Toni Morrison's Changing Use of Echo," West Virginia University Philological Papers 42-43 (1997-1998): 82-87.

BIGNELL, Jonathan. "A Taste of the Gothic: Film and Television Versions of Dracula," The Classic Novel: From Page to Screen, Eds. Robert Giddings and Erica Sheen. New York: St. Martin's Press, 2000, 114-130.

BIGSBY, C.W.E., ed. The Pit and the Pendulum and Other Stories. London: Phoenix, 1995. See under Anthologies.

BILLI, Mirella. "La sublime ambiguita dell 'orrore," Questione Romantica: Rivista Interdisciplinare di Studi Romantica 3-4 (1997): 35-50.

BINONGO, Jose Nilo G. "Tropical Gothic Versus Joaquinesquerie: Quantifying Their Qualitative Differences, Philippine Studies, 43:1 (1995): 66-92.

BINONGO, Jose Nilo G. "Joaquin's Joaquinesquerie, Joaquinesquerie's Joaquin: A Statistical Expression of a Filipino Writer's Style," Literary and Linguistic Computing (Oxford), 9:4 (1994): 267-279.

BIRKERTS, Sven. "Gothic Feminism," Mirabella 3:2 (1991): 40-[data] On Rebecca Goldstein's Gothic.

BIRTH of a Gothic Novel. Woodbridge, CT: Research Publications, an imprint of Primary Source Media, 1996. microfilm reels. Title and imprint from microfilms and microfilm boxes; pub.date from printed index to collection."The Eighteenth Century, Research Publications." List of titles appears at start of each reel. Publisher's reel boxes numbered separately according to each author's set of works (i.e., 1-3, 1-2, 1-4, 1-2, 1-7). Contents: William Beckford (14 titles on reels 1-3); Mathew Gregory Lewis 16 titles on reels 4-5); Ann Radcliffe (15 titles on reels 6-9); Clara Reeve (11 titles on reels 10-11); Horace Walpole (42 titles on reels 12-18). The Collection consists of 98 works by 5 English authors (including correspondence), filmed from the original works and letters held by several different libraries in England.

BISSETT, Alan. " ' The Dead Can Sing:' An Introduction" to Damaged Land: New Scottish Gothic Fiction. Edinburgh: Polygon, 2001.

BLAKEMORE, Steven. "Matthew Lewis's Black Mass: Sexual, Religious Inversion in The Monk," Studies in the Novel 30:4 (1998): 521-539. Aruges that Lewis "based the novel on the thesis that Catholic monasticism violated nature with its chastity vows, thereby producing deviant sexual practices." The text of The Monk "performed the linguistic equivalent of a Black Mass by inverting and subverting the traditional roles of religion and sex."

BLASZAK, Marek. Ann Radcliffe's Gothic Romances and the Romantic Revival. Opole: Wyzsza Szkola Pedagogiczna im. Powstanców Slaskich w Opolu, 1991.

BLOCK, Ed. Rituals of Disintegration: Romance and Madness in the Victorian Psycho-Mythic Tale. New York: Garland Publishing, 1993.

BLOOM, Clive. Gothic Horror: A Critical Anthology. Basingstoke, UK: Macmillan, 1997.

BLOOM, Clive. Gothic Horror: A Reader's Guide from Poe to King and Beyond. New York: St. Martin's Press, 1998. Not a "Reader's Guide" but a loose collection of essays and excerpts and a "Select Bibliography" of only nine entries. Chapter 1, Early Accounts, reprints extracts from Poe's "The Man of the Crowd," "The Imp of the Perverse," "The Philosophy of Composition," Eureka, and Marginalia; Hawthorne's Preface to The House of the Seven Gables; Pater's The Renaissance; Lafcadio Hearn's "Nightmare-Touch". Chapter 2, Early Modern Accounts, reprints extracts from Freud's "The Uncanny"; Hilaire Belloc's remarks on Algernon Blackwood; M.R. James's Preface to The Collected Ghost Stories; H.P. Lovecraft's Supernatural Horror in Literature; Montague Summers's The Vampire in Literature; Dennis Wheatley's author's note from The Devil Rides Out. Chapter 3, Later Modern Accounts, reprints Robert Bloch's remarks on Horror Writers; The Los Angeles Science Fiction Society's Symposium on H.P. Lovecraft; extracts from Stephen King's Playboy interview and "An Evening at Billerica Public Library"; Whitley Strieber's remarks on Stephen King; Clive Barker's remarks on Horror and Subversion. Chapter 4, Contemporary Critical Accounts, reprints parts of books by Julia Briggs (Night Visitors), David Punter (The Literature of Terror), Tzvetan Todorov (The Fantastic), Rosemary Jackson's (Fantasy), and extracts from Anne Crannie Francis on The Vampire Tapestry, Judie Newman on The Haunting of Hill House, J. Gerald Kennedy on Edgar Allan Poe, Manuel Aguirre on Victorian Horror, Gina Wisker on Angela Carter, John Nicholson on Sex and Horror, Steve Holland on Horror and Censorship, and Robert F. Geary on Horror and Religion. Bloom's Introduction, "Death's Own Backyard," argues somewhat equivocally that "gothic fiction need not be horrific and horror fiction need not be gothic." Also believes that "A final aim of gothic writing is social disturbance, thereby questioning technological, scientific and social norms as well as class relations in a way unavailable to realist fiction." Has a moot "Chronology of Significant Horror and Ghost Tales." No index. Cumulative errors of fact include Bloom's belief that the House of Usher is surrounded by a "moat," not a "tarn" and the attribution of the story "The Phantom Rickshaw" to Robert Louis Stevenson in the Chronology.

BLOOM, Clive. "Doyle, Arthur Conan" In The Handbook of Gothic Literature, Ed. Marie Mulvey-Roberts. New York: New York University Press, 1998: 47-49.

BLOOM, Clive. "Horror Fiction: In Search of a Definition," A Companion to the Gothic, ed. David Punter. Oxford, UK & Malden, MA: Blackwell Publishers, 2000, 155-166. The elusiveness of a suitable definition is reflected in "the evasiveness inherent in the attitude of many of the best practitioners of the ghostly tale." Henry James, Edith Whaton, and Montague Rhodes James are cited as instances of horror fiction writers who evaded the issue of definition. H. P. Lovecraft's essay in definition, Supernatural Horror in Literature (1927), Robert Bloch's thoughts on Psycho, and Lafcadio Hearn's definition of the fearful as "demonic contact itself [Bloom's paraphrase]," offer more specificity. Tieck, R. W. Chambers, and Stephen King have added to the necessity for repulsive tactility in defining horror, i. e. "the body, its fluids, passages and surfaces, is the registration for horror's symbolic significance." But like a beckoning phantom in the labyrinth of a Gothic novel, the horror tale has yet to be overtaken and confined to any adequate definition.

BLOOM, Harold. Introduction to Dracula by Bram Stoker. Philadelphia: Chelsea House, 2002.

BLUMBERG, Jane. "Mary Shelley's Early Novels," Diss IT, 41 (1992): 244-245 (Oxford).

BODNER, Merrill. "Unraveling the Mystery of Toni Morrison's Beloved," Trajectories of the Fantastic: Selected Essays from the Fourteenth International Conference on the Fantastic in the Arts. Westport, CT: Greenwood Press,1997, [data].

BOHLS, Elizabeth Ann. "Aesthetics and Ideology in the Writings of Ann Radcliffe," Dissertation Abstracts International 50:12 (1989): 3959A (Stanford University). Radcliffe's Gothic novels respond to "the changing division of knowledge in the eighteenth as well as a changing construction of femininity, also increasingly relegated to a separate sphere." The Romance of the Forest "tests the related concept of moral disinterestedness, developed by Shaftesbury and Hutcheson, as it applies to women." A Journey through Holland and Germany "struggles with aesthetic disinterestedness in the form of picturesque tourism." The Mysteries of Udolpho "introduces its heroine as a seeker of the picturesque. But at Castle Udolpho she becomes the subject of sublime terror, kept literally and figuratively in the dark by a powerful man in a microcosm of women's oppression." The Italian "further explores the relation between women and knowledge: institutions--convents, the Inquisition--are shown capable of enforcing knowledge on the protagonists before coincidences rescue them."

BOI, Magda. "Il Gotico rivisitato nel romanzo di Ian McEwan." Confronto Letterario: Quaderni del Dipartimento di Lingue e Letterature Straniere Moderne dell'Universita di Paviae del Dipartimento di Linguistica e Letterature Comparate dell'Universita di Bergamo 15:29 (1998): 289-304. On Ian McEwan's use of Gothic conventions.

BOIVIN, Aurélian. "Dossier littéraire: le fantastique; Le conte surnatural au XIX^e siècle," Québec Français 50 (1983): 34-39. [Literary file: The fantastic; the supernatural tale in the 19th century]

BOGATAJ-GRADISNIK, Katarina. Grozljivi roman. Ljubljana: Drzavna zalozba Slovenije; Literarni leksikon Studije zv. 38, 1991. [Gothic novel].

BONNEL, Roland. "Medieval Nostalgia in France, 1750-1789: The Gothic Imaginary at the End of the Old Regime," Medievalism in Europe, ed. Leslie J. Workman. Cambridge, UK: Brewer, 1994, pp. 139-163.

BONNETT, Aileen Alanna. "The Gothic Impulse in English Literature Between 1820 and 1850." Doctoral Dissertation, University of Essex, 1980.

BOOKS--Forbidden and Gothic," Vogue 1 September 1992, pp. 380-[data] On a "stunning first novel" by Donna Tartt. "Strange sex, murder, and a Dionysian spirit pervade" this Gothic.

BOONE, Troy. "Narrating the Apparition: Glanvill, Defoe, and the Rise of Gothic Fiction," The Eighteenth Century: Theory and Interpretation, 35:2 (1994): 173-189.

BOONE, Troy. "Mark of the Vampire: Arnod Paole, Sade, Polidori." Nineteenth-Century Contexts 18 (1995): 349-66. Uses Sade's Justine (1791) as a bridge between the infamous Medregia vampire case of Paole in the 1730's and Polidori's novel to chart a shift in the treatment of vampirism from "a well-contained menace to society" to a way of analyzing "the relations of sexuality and individualism, law and power. The violent combatants of Polidori's novel display the vampire's victorious mastery of homosocial relations and [the victim's] failure to dodge homoerotic desire."

BORTHWICK, John. "Heavenly Haunts," The Australian Way 1 May 1995, pp. 20-[data] On the Gothic legends of New Zealand's Otago Peninsula.

BOTTALICO, Michele. "The American Frontier and the Initiation Rite to a National Literature: The Example of Edgar Huntly by Charles Brockden Brown," Rivisti di Studi Nord American, 4 (1993): 3-16.

BOTTING, Fred. "Power in the Darkness: Heterotopias, Literature and Gothic Labyrinths," Genre 26:2-3 (1993): 253-[data]

BOTTING, Fred. "Signs of Evil: Bataille, Baudrillard and Postmodern Gothic," Southern Review: Literary and Interdisci-plinary Essays, 27:4 (1994): 493-510. Applies French literary theory to Twin Peaks.

BOTTING, Fred. "Dracula, Romance and the Radcliffean Gothic," Women's Writing 1: 2 (1994): 181-201.

BOTTING, Fred, ed. Frankenstein/Mary Shelley. New York: St. Martin's Press, 1995.

BOTTING, Fred. Gothic. London & New York: Routledge, 1996. A 201 page textbook and introductory guide to "the sources and developments of a transgressive genre." Hampered by lack of index, no discernible connection between secondary works of criticism cited in the bibliography and the main text, and occasional factual errors. Poe's tale, "The Facts in the Case of M. Valdemar" is cited as "The Facts in the Strange Case of Mr. Valdemar." Omits Gothic drama and overlooks the important role of the chapbooks and shilling shockers in determining the direction of the genre in the nineteenth century. The eight chapters are: 1. Introduction: Gothic Excess and Transgression 2. Gothic Origins 3. Gothic Forms 4. Gothic Writing in the 1790s 5. Romantic Transformations 6. Homely Gothic 7. Gothic Returns in the 1890s 8. Twentieth-Century Gothic.

BOTTING, Fred. "The Gothic production of the Unconscious," Spectral Readings: Towards a Gothic Geography, eds. Glennis BYRON, David PUNTER. New York: St. Martin's Press, 1999. New York: St. Martin's Press, 1999, 11-36.

BOTTING, Fred. "In Gothic Darkly: Heterotopia, History, Culture," A Companion to the Gothic, ed. David Punter. Oxford, UK & Malden, MA: Blackwell Publishers, 2000, 3-14. Discusses the ambivalence of Gothic as a satisfactory literary term, "crossing boundaries and disrupting categories as much as it serves to preserve them."

BOTTING, Fred. "Future Horror (The Redundancy of Gothic)," Gothic Studies 1:2 (1999): 139-155. A small treatise on Gothic futuristics and the semantic doom of older Gothic representations. Posits that the future of Gothicism, precisely because societies offer so much horror and banality of evil on a daily and factual basis, will render the outlook and its techniques "redundant" or obsolete. "Horror has passed beyond the capacity and comfort of anything vaguely resembling Gothic representation. Terrors of the night are replaced by terrors of the light." In the modern world where the beastly, the emetic, and the atrocious are routine, "the Gothic way of producing objects of horror by playing with convention and expectations becomes increasingly ineffective" because Gothic fact has superseded Gothic fantasy and things are Gothic before the Gothicist can describe or animate them.

BOTTING, Fred, Ed. The Gothic. Cambridge: Boydell & Brewer, 2001. Eight essays on British Gothic fiction with a Preface by Fred Botting. The essays examine and assess the Gothic’s literary, historical and cultural significance from Horace Walpole to Angela Carter. The essays are thematically united by the belief that the Gothic "is integrally involved in the production of a modern sense of a nation. It continues to haunt legal discourses, underpins social mythologies and ideologies, and informs histories of sexuality and identity." Contents: David Punter and Elisabeth Bronfen, "Gothic: Violence, Trauma, and the Ethical;" E. J. Clery, "Horace Walpole’s Mysterious Mother and the Impossibility of Female Desire;" Robert Miles, "Abjection, Nationalism, and the Gothic;" Jean-Jacques Lecercle, "The Kitten’s Nose: Dracula and Witchcraft;" Leslie J. Moran, "Law and the Gothic Imagination;" Helen Stoddart, "The Passion of New Eve and the Cinema: Hysteria, Spectacle, and Masquerade;" Fred Botting, "Candygothic;" Jerrold E. Hogle, "The Gothic at our Turn of the Century: Our Culture of Simulation and the Return of the Body." The volume is number 54 of the English Associations Essays and Studies Series.

BOTTING, Fred. “Candygothic” In The Gothic, Ed. Fred Botting. Cambridge: Boydell & Brewer, 2001: [data].

BOTTING, Fred. “Aftergothic: consumption, machines, and black holes” In The Cambridge Companion to Gothic Fiction, Ed. Jerrold E. Hogle. Cambridge, UK: Cambridge University Press, 2002: 277-300. Relates traditional Gothic forms and motifs to computer games, cyberpunk films and dress, and cultural excess and degeneracy. Has three subheadings: “Paternal figures and the rise of Gothic Fiction;” “Gothic times: horror today;” “ Love in a void (‘it’s so good’).” Makes, remakes, and re-remakes the point that “A sense of cultural exhaustion haunts the present. An inhuman future is shrouded in old Gothic trappings emptied of any strong charge; past images and forms are worn too thin to veil the gaping hole of objectless anxiety.”

BOUCÉ, Paul-Gabriel. "Introduction" to The Adventures of Ferdinand Count Fathom. see under anthologies.

BOUGHEY, Alan. "The Good, the Bad and the Gothic,".Public Library Journal 14:2 (1999): 43-[data}.

BOYD, Molly. "Rural Identity in the Southern Gothic Novels of Mark Stedman," Studies in the Literary Imagination 27:2 (1994): 41-54. On the Gothicism of McAfee County and Angel Child.

BOYER, Gayle Ormand. "The Horrors of Romance: Figuring the Feminine in Early Gothic Fiction," Dissertation Abstracts International 56:8 (1996): 3134A (Brown University). The thesis: "Gothic texts construct a female subjectivity that is both defined and threatened by literal projections based on this discursive pattern; in these texts, relations of contiguity threaten to transform themselves into relations of identity through contamination of the female subject."

BOZZETTO, Roger. Territoire des fantastiques. Des romans gothiques aux récits d'horreur moderne. Aix en Provence: Publications de la Université de Provence, 1998. [Territory of the fantastique: Of Gothic novels in modern horror narratives]

BOZZETTO, Roger. "Mrs Radcliffe: The Italian or the Confessionnal of the Black Penitents." In Le Roman noir anglais dit gothique, ed. Max Duperray. Paris: Ellipses, 2000: 111-122.

BRADLEY, Marion Zimmer. "Believeability in Dracula," NIEKAS 45: Essays on Dark Fantasy. Center Harbor, NH: Niekas Publications, 1998, 33, 43.

BRANDENBERGER, Mary Ann. "Analysis of the Fear Factor in Stephen King's 'The Man Who Loved Flowers,' " NIEKAS 45: Essays on Dark Fantasy. Center Harbor, NH: Niekas Publications, 1998, 18-19, 32.

BRANTLINGER, "Gothic Toxins: The Castle of Otranto, The Monk, and Caleb Williams," The Reading Lesson: The Threat of Mass Literacy in Nineteenth Century British Fiction. Bloomington: Indiana UP, 1998.

BRANDON, Eugenie Josephine. "Jane Austen's Attitude toward the Gothic Novel," M.A. Thesis, University of Arizona, 1935.

BRANDSER, Kristin Joan. "In Contempt: Women, Law and the Victorian novel." Dissertation Abstracts International 62:3 (2001): 1028 (University of Iowa). Explores the practice of feminist jurisprudence in certain nineteenth-century novels by women, as well as in the lives and politics of Victorian women who fought for legal reform to "analyze the ways in which women's narratives worked to dismantle the law's self-authorized claim to "truth," a claim that discounts and silences women's stories and experiences." Texts considered range from legislative reports, trial transcripts, and judicial opinions to Gothic, social-problem, utopian, and New Woman novels by writers such as Mary Wollstonecraft, Frances Trollope, Jane Clapperton, Florence Dixie, George Paston, and Sarah Grand. 

BRAUDE, Anne. "Women Who Run with Werewolves: The Evolution of the Postfeminist Gothic Heroine," NIEKAS 45: Essays on Dark Fantasy. Center Harbor, NH: Niekas Publications, 1998, 103-112. Somewhat tongue-in-cheek exposé of the collision of contemporary feminism with traditional Gothicism. The author confesses that she has "struggled through The Monk, The Castle of Otranto, and a Radcliffe for my sins (and for academic credit)." Her conclusion: "In the postfeminist Gothic the supernatural as often as not proves to be fraudulent, except in the case of the psychically gifted heroine and in the case of my main subject, the female occult detective." Lots of Lance and Ace Gothic authors's names are dangled dangerously from this proposition including Mary Stewart, Barbara Michaels, Phyllis Whitney and Victoria Holt.

BRAUN, Anne-Kathrin. "From Page to Stage: Narrative Strategies in Lochhead's Dracula." Gothic Studies 3:2 (2001): 196-210. On the 1985 stage adaptation of Bram Stoker's Dracula by the Scottish poet and playwright Liz Lochhead. Her dramatization "successfully translates the technical complexities of Stoker's text into the difficult medium of the theatre, and also offers a careful reading and contemporary evaluation of the subversive potential of the novel." The modern stage version "sheds light on the resurgence of anxieties concerning the status of human subjectivity."

BRDICKO, Lori Ann. "The Science of Horror," B.A. Honors Thesis, University of Nebraska at Omaha, 1991.

BREDEROO, N.J. "Dracula in Film," Exhibited by Candlelight: Sources and Developments in the Gothic Tradition, eds. Valeria Tinkler Viviani, Peter Davidson, Jane Stevenson. Amsterdam: Rodopi, 1995, 171-281. Relates the fortunes of Stoker's novel in various films from Murnau to modern vamp-schlock. Sresses the erotic and sexual Draculas released by Hammer Studios.

BREEN, Allison. "A Comparison of the Villain-hero in Four English Gothic novels," M.A. Thesis, Midwestern State University, 1978.

BRENNAN, Matthew C.The Gothic Psyche: Disintegration and Growth in Nineteenth Century English Literature. Columbia, SC: Camden House, 1997. Offers Jungian readings of five Gothic texts: Mary Shelley's Frankenstein, Emily Brontë's Wuthering Heights, Stevenson's Dr. Jekyll and Mr. Hyde, Stoker's Dracula, and Poe's "The Fall of the House of Usher." Applies Jung's theory of animus/anima to the search for self definition in these works. Also offers close readings of poems by Coleridge, Wordsworth, Keats, and Byron and paintings by Turner and Fuseli to show how these various works "represent failure of individuation--psychic disintegration in which the self not only falls short of a centered consciousness, but also suffers the ego's absorption into the unconscious. This Jungian interpretation explains how the Gothic embodies cautionary tales that warn readers to remember their dreams." The six chapters are: 1: The Gothic in Romantic Poetry 2: Mary Shelley's Frankenstein 3: Emily Brontë's Wuthering Heights 4: Rober Louis Stevenson's Dr. Jekyll and Mr. Hyde 5: Bram Stoker's Dracula 6: An American Case: Edgar Allan Poe's "The Fall of the House of Usher." Index and Bibliography of Works Consulted.

BREUER, Horst. "Dracula lebt: Zur Psychodynamik von Schreckenliteratur," Unterhaltung: Sozial und Literaturwissen-schaftliche Beitrage zu ihren Formen un Funktionen. Erlangen: Univ. Erlangen Nurnberg, 1994, pp. 139-153. [Dracula lives: On the psychodynamic of terror literature].

BREWER, William D. "Mary Wollstonecraft and Mary Shelley: Ideological Affinities," Jane Austen and Mary Shelley, and their Sisters, ed. Laura Dabundo. Lanham, MD: University Press of America, 2000: 97-108. Corrects the relationship between Mary Shelley and her mother on issues of women's educational rights by showing how she "is much closer to Wollstonecraft in her attitudes regarding the educational rights of women than many critics recognize." Her novels, particularly Frankenstein and Valperga, "suggest that well-educated women can exist independently of the family."

BREWSTER, Scott. "Seeing Things: Gothic and the Madness of Interpretation," A Companion to the Gothic, ed. David Punter. Oxford, UK & Malden, MA: Blackwell Publishers, 2000, 281-292. Argues that "Gothic does not merely describe disturbed, perverse or horrifying worlds: its narrative structures and voices are interwoven with and intensify the madness they represent." Applies this thesis to Poe's "The Fall of the House of Usher," Stoker's Dracula, and M. R. James's "A Warning to the Curious," all Gothic texts "that elicit in varying degrees the madness of interpretation."

BRIDE of Frankenstein: A Gothic Masterpiece," American Cinematographer 79:1 (1998): 102-[data]

BRIGGS, Julia. "The Ghost Story," A Companion to the Gothic, ed. David Punter. Oxford, UK & Malden, MA: Blackwell Publishers, 2000, 122-131. The author of Night Visitors condenses the many insights of that book into an essay in the history and definition of the ghost story, "the most characteristic form taken by the Gothic from, perhaps, 1830 to 1930." Citing narrative evidence from E. T. A. Hoffmann, Poe, Potocki, Dickens, Collins, Gaskell, M. R. James, Walter de la Mare, Wharton, Kipling and others, points out that "the ghost story often takes place in a very mundane and often urban context"; that for women, "the writing of ghost stories may have further reflected, if only vicariously, a concern to reclaim a little of the power and freedom that circumstances denied them"; that the ghost story, "with its many symbolisms of a world within us, beyond us or looming out of the past to our destruction, continues to be a potent and living literary form, offering its readers a serious and even a self-relexive message as well as the thrill of fear."

BRINKS, Ellen. "Dispossessing Figures: Masculinity in Gothic Romanticism," Dissertation Abstracts International 58:1 (1997): 155A (Princeton University)."Traces constructions of masculinity and the disruptive effects of erotic desire in literary, philosophical and scientific narratives by Coleridge, Hegel, Keats, Byron and Freud. Its focus is a paradigmatic motif in English and German Romantic gothic narratives. In an internalized gothic tale, presented as a dream, a vision, or a fantastic scenario, a male subject faces a supernatural force, such as a vampire, a phantasm, a foreign body, or one of the undead."

BRINKS, Ellen. "The Male Romantic Poet as Gothic Subject: Keat's Hyperion and The Fall of Hyperion: A Dream," Nineteenth-Century Literature 54:4 (2000): 427-[Data].

BRITTON, Wesley. "The Puritan Past and Black Gothic: The Haunting of Toni Morrison's Beloved in Light of Hawthorne's The House of the Seven Gables," Nathaniel Hawthorne Review 21:2 (1995): 7-23.

BROGAN, Kathleen. "American Stories of Cultural Haunting: Tales of Heirs and Ethnographers," College English, 57:2 (1995): 149-165.

BROMWICH, David. "Charlotte Smith, The Old Manor House," A Companion to Romanticism. Oxford, UK ; Malden, MA: Blackwell Publishers, 1998, [data].

BRONFEN, Elisabeth. "Hysteria, Phantasy and the Family Romance: Ann Radcliffe's Romance of the Forest," Women's Writing 1: 2 (1994): 170-180.

BROOKS, Chris. Gothic Revival. London: Phaidon, 1999.

BROOKS, Peter. "Victorian Gothic," in Melodrama, ed. Gerould, Daniel. New York: New York Literary Forum, 1980, pp. [data].

BROWN, Byron K. "John Snart's Thesaurus of Horror: An Indirect Source of Poe's 'The Premature Burial'?" American Notes & Queries: A Quarterly Journal of Short Articles, Notes, and Reviews, 8:3 (1995): 11-14.

BROWN, Jane K. "Faust and the Gothic Novel," Interpreting Goethe's Faust Today, eds. Jane K. Brown, Meredith Lee, Thomas P. Saine. Columbia, SC: Camden House, 1994, 68-80.

BROWN, Marshall. "From the Transcendental to the Supernatural: Kant and the Doctors," Bucknell Review 39:2 (1996): 151-169.

BROWNE, Stephen H. "The Gothic Voice in Eighteenth-Century Oratory," Communication Quarterly 36 (1988): 227-36.

BROWNE, Stephen H. " ' This Unparalleled and Inhuman Massacre': The Gothic, the Sacred, and the Meaning of Nat Turner." Rhetoric and Public Affairs (College Station, TX) 3:3 (2000): 309-31. The work is attributed to Thomas R. Gray. Examines Gothic conventions and the presentation of violence.

BROYLES, Janice Ann. "Charles Brockden Brown: A Redefinition of the Gothic novel," M.A. Thesis, Southwest Missouri State University, 1991.

BRUCE, Donald Williams. "Ann Radcliffe and the Extended Imagination," Contemporary Review, 1 June 1991, 300.

BRUCE, Donald. “William Beckford as Writer and Collector.” Contemporary Review 280: 1635 (Apr. 2002): 227-233. Describes "William Beckford: An Eye for the Magnificent," an exhibition at the Dulwich Gallery, England. “Although in Vathek, William Beckford wrote a Gothic romance as reckless and immoderate as himself, his life of great prodigality would merit attention even if he had never written a word.”

BRUHM, Steven. Gothic Bodies: The Politics of Pain in Romantic Fiction. Philadelphia: Pennsylvania UP, 1994. The five chapters are: 1) Pain, Politics, and Romantic Sensibility 2) Imagining Pain 3) Spectacular Pain: Politics and the Romantic Theatre 4) The Epistemology of the Tortured Body 5) Aesthetics and Anesthetics at the Revolution. Begins with the sadistic iconography of Delacroix's painting, The Death of Sardanapalus. "Pain is the great repressed in criticism of the Romantics, just as, for Freud, the body was the great repressed in the constitution of the social order. The Gothic, and the Gothic elements of Romanticism, invite the repressed to return; they bring us on stage with pain and force us to see what fascinates us at the same time that it disgusts us."

BRUHM, Steven. "On Stephen King's Phallus: Or, The Postmodern Gothic," Narrative 4:1 (1996): 55-73. Reprinted in The American Gothic: New Interventions in a National Narrative, eds. R.K. Martin & Eric Savoy. Iowa City: University Iowa Press, 1998, pp. 75-96. Lacanian readings of various King stories and novels including The Shining, 'Salem's Lot, and The Dark Half to test the thesis that "Horror in Stephen King is epistemological, but its epistemology is self-contested; on the one hand, the subject fears the phallus, the castrating Father who denies the son agency, yet on the other hand, he nostalgically pines for the phallus, the articulateness and presence that can overthrow the Father."

BRUHM, Steven. "Picture This: Stephen King's Queer Gothic," A Companion to the Gothic, ed. David Punter. Oxford, UK & Malden, MA: Blackwell Publishers, 2000, 269-280. On the novel The Shining, a novel "redolent with homosexuality." The book abounds in "queer Gothic strategies" such as "homoerotic narcissisism" and "phallic narcissism." "A real terror for the gay reader here is that heterosexuality may become the prohibited other, eroticised precisely because it is prohibited."

BRUHM, Stephen. "Introduction: Encrypted Identities," Gothic Studies 2:1 (2000): 1-7. Introduces the essays with the premise that "the Gothic performs a fascination with language and with the phenomenology of loss. . . . The Gothic subject is always a 'subject in excess,' desiring more than signifying systems can provide." Comments on ways in which the essays are cryptomimetic in nature, the textual process by which that which is being inscribed is at the same time "encrypted, buried, hidden, lost from view."

BRUHM, Steven. “The Contemporary Gothic: why we need it” In The Cambridge Companion to Gothic Fiction, Ed. Jerrold E. Hogle. Cambridge. UK: Cambridge UP, 2002: 259-276. Attempts to account for the enormous popularity of the Gothic in both literature and film since the Second World War. “The Gothic’s basic investment in ravaging history and fragmenting the past meshes with our own investments now as we attempt to reinvent history as a way of healing the perpetual loss in modern existence. . . . We keep needing the Gothic to give shape to our contradiction[s].”

BRUNK, Terence M. "Gothic Masculinities: Gender and Status in the British Gothic Novel of the 1790s," Dissertation Abstracts International 58:7 (1998): 2663A (Rutgers University). "Explores how the British gothic novel redefines masculinity in the wake of the seventeenth-century critique of aristocratic male honor" through the perspective of Ann Radcliffe's Romance of the Forest, Ann Yearsley's The Royal Captives, Matthew Gregory Lewis's The Monk, and William Godwin's St. Leon. "Contends that familiar thematic conventions of the gothic novel, such as the use of the supernatural, are part and parcel of the ideological work of gothic fiction's recapitulations of the cultural debates of the prior century and its elaboration of new masculinities.

BRUNK, Terence M. " ' A Hurly-Burly in This Poor Women's Head ': The Gothic Character in Ann Yearsley's Authorial Identity," English Language Notes 37:4 (2000): 29-52. On Yearsley's Gothic novel, The Royal Captives (1795). "Yearsley's choice of a Radcliffean Gothic mode" resulted in a work that "evinces a transformative power that The Castle of Otranto, for all of its grotesque flights of fancy, cannot emulate."

BUDUR, Natalia. Russkaia goticheskaia proza. Moskva: Terra-Knizhnyi klub, 1999.

BULAND, Mable. "Development of the Gothic novel in America." Master's Thesis, University of Washington, 1908.

BUNNELL, Charlene E. "The Illusion of ' Great Expectations ': Manners and Morals in Mary Shelley's Lodore and Falkner" In Iconoclastic Departures: Mary Shelley After Frankenstein: Essays in Honor of the Bicentenary of Mary Shelley's Birth, Eds. Syndy M. Conger, Frederick S. Frank, Gregory O'Dea. Madison, NJ. Fairleigh Dickinson UP, 1997: 275-292.

BURGESS, Michael & Lisa R. BARTLE. Reference Guide to Science Fiction, Fantasy, and Horror. Westport. CT: Libraries Unlimited, 2002.

BURGESS, Miranda. "Domesticating Gothic: Jane Austen, Ann Radcliffe, and National Romance," Lessons of Romanticism: A Critical Companion, eds. Thomas Pfau, Robert F. Gleckner. Durham: Duke UP, 1998, pp. 392-412.

BURGESS, Miranda J. "Charlotte Smith, The Old Manor House," A Companion to Romanticism, ed. Duncan Wu. Oxford: Blackwell Publishers, 1998, 122-30.

BURGIO, Tizinia. William Beckford e il Mondo Arabo-Islamico. Mazzara del Vallo, Italia: Liceo Ginnasio Gian Giacomo Adria, 1997. [William Beckford and the Arab-Islamic world]

BURROUGHS, Catherine B. Closet Stages: Joanna Baillie and the Theater Theory of British Women Writers. Philadelphia: U of Pennsylvania P, 1997.

BURROUGHS, Catherine B. "Teaching the Theory and Practice of Women's Dramaturgy." Romanticism on the Net 12 (November 1998): <http://www-sul.stanford.edu/mirrors/romnet/>. Argues that Sophia Lee, Elizabeth Inchbald, Joanna Baillie, and Mary Russell Mitford raise issues of antitheatricalism, generic experimentation, the cultural significance of the Gothic play, and other concerns.

BUSCAGLIA, Germana. "The Monk di Matthew Gregory Lewis: L'Intersecarsi di Storie nel Romanzesco Diabolico e Magico," Thesis, Universita degli Studi, Milan, 1993. [Matthew Gregory Lewis's The Monk: [data]

BUSTILLO, Carmen. "Alvaro Mutis: Parodia y autoparodia en La mansion de Araucaima." Thesaurus: Boletin del Instituto Caro y Cuervo (Bogota, Colombia) 49:1 (1994):142-165. Bakhtinian readings of the Gothic short stories of the Colombian writer, Alvaro Mutis.

BYAM, Paige Beresford. "Mysteries in Narrative: Female Figures, Fear, and the Disruption of Telos," Dissertation Abstracts International 54 (1994): 2565A (University of Wisconsin). Contains material on Emily St. Aubert in Radcliffe's Mysteries of Udolpho. The fear she expresses "often points to other fears that inform narrative and prevent it from being a closed, linear whole." Such fears are "thematized in anxieties over gender, genre, and cultural boundaries."

BYATT, A. S. "American Gothic," New Statesman, 6 June 1975, 760.

BYRON, Glennis & David PUNTER, eds.. Spectral Readings: Towards a Gothic Geography. New York: St. Martin's Press, 1999. New York: St. Martin's Press, 1999. Noting that an upswing in Gothic horror and terror seems to coincide with the end of one century and the beginning of another (the fin de siecle effect), the thirteen essays probe questions of the Gothic in transition and the shift in definition accompanying centenary change. "Gothic Geography" in the book's title is meant to "suggest that a unified Gothic geography is an impossibility. Just as Gothic castles from Udolpho to Gormenghast exist in a world where there are no maps, where halls, corridors and stairways go on for ever, where rooms that were there in the night have vanished by morning , so Gothic itself challenging that very process of map-making by means of which we might hope to reduce the world to manageable proportions; while, of course, it remains fascinated by the very impossibility which it so convincingly propounds." Table of Contents: List of figures; Notes on contributors; David PUNTER, Introduction: of Apparitions; Part I: Theory: regions of the Gothic; Fred BOTTING, The Gothic production of the Unconscious; David PUNTER, Ceremonial Gothic; William VEEDER, The Nurture of the Gothic, or, how can a text be both popular and subversive?; PART II: Heartlands: The British Nineteenth Century; Alexandria WARWICK, Lost Cities: London's Apocalypse; David SEED, Hell is a City: Symbolic Systems and Epistemological Scepticism in The City of Dreadful Night; Robert MIGHALL, "A pestilence which walketh in darkness": Diagnosing the Victorian vampire; Part III: America: States of Instability; Jeannette IDIART and Jennifer SCHULZ, American Gothic landscapes: The New World to Vietnam; Helen F. THOMPSON, Gothic Numbers in the New Republic: The Federalist No. 10 and its Spectral Factions; Eric SAVOY, Spectres of Abjection: The Queer Subject of James's "The Jolly Corner"; Part IV: Europe: Dimensions of the Body; Jerrold E. HOGLE, The Gothic and the `Otherings' of Ascendant Culture: The Original Phantom of the Opera; Barnard TURNER, Heiner Muller's Medea: Towards a Paradigm for the Contemporary Gothic Anatomy; Part V: Contemporary (re)versions; Avril HORNER and Sue ZLOSNIK, Deaths in Venice: Daphne du Maurier's `Don't Look Now'; Christine FERGUSON, Dr McGrath's disease: radical pathology in Patrick McGrath's neo-Gothicism. Index.

BYRON, Glennis, ed. Dracula: Bram Stoker. New York: St. Martin's Press, 1999. A casebook.

BYRON, Glennis. "Gothic in the 1890s," A Companion to the Gothic, ed. David Punter. Oxford, UK & Malden, MA: Blackwell Publishers, 2000, 132-142. Discusses Stevenson, Stoker, Machen, Wilde, Wells, and Richard Marsh, author of The Beetle (1897). "All draw their power from the fears and anxieties attendant upon degeneration, and the horror they explore is the horror prompted by the repeated spectacle of dissolution--the dissolution of the nation, of society, of the human subject itself." Also notes that "the city is now the primary Gothic landscape" and that "the primary figure at the heart of most Victorian fin de siècle texts is the scientist."