If the entry is a doctoral dissertation or master's thesis, then the author's name is in UNDERSCORED.

Internet Resource:

ABENSOUR, Liliane and Françoise CHARRAS. Romantisme Noir. 0037].

AGNEW, Jennifer Marie. " ' Trying to Name the Unspeakable': Narrating Identity in Turn-of-the-Twentieth-Century Gothic Fiction." Dissertation Abstracts International 62:5 (2001): 1831 (Saint Louis University). Considers modern Gothic writers from several nations in assessing fin de siècle Gothic fiction's "narrative convention of controlling the breakdown of individual identity through the narrator's act of storytelling." Argues that contemporary Gothic's unusual tension and make it a powerful form for addressing anxieties about identity loss at the end of the twentieth century." Among the novels investigated are: Maxine Hong Kingston's The Woman Warrior and Louise Erdrich's Tracks, Toni Morrison's Beloved,Valerie Martin's Mary Reilly, and Patrick McGrath's Spider. "Preoccupation with the Gothic at the end of a century has provided a way for individuals to channel anxieties about identity, but the transformation of the gothic convention at the close of the twentieth century may indicate that the convention of narrating to preserve identity no longer works in a social environment that is increasingly hostile and alienating.

AGUIRRE, Manuel. The Closed Space: Horror Literature and Western Symbolism. 0038].

________. "The Roots of the Symbolic Role of Woman in Gothic Literature." In Exhibited by Candlelight: Sources nd Developments in the Gothic Tradition, Eds. Valeria Tinkler Villani, Peter Davidson, Jane Stevenson. Amsterdam: Rodopi, 1995: 57-63. Discusses the function and behavior of female figures in Gothic fiction, especially the "women of feeling." "Moved by feeling, the Gothic woman still reveals the numinous touch which, as a symbol of earth itself, she enjoyed in traditional myth."

AHLSTROM, Helen. "The Gothic novel: Criticism and Theory (1764-1832)." Master's Thesis, Northwestern University, 1929. Deals with the early Goths as well as such theoreticians as Edmund Burke and Bishop Richard Hurd.

AINO, Tsuyoshi. "Du château a l'hotel; Proceedings of the XVIIIth Congress of the International Comparative Literature Association." In The Force of Vision II; Visions in History; Visions of the Other. Eds. Toru Haga, Gerald Gillespie, Margaret Higonnet, Sumie Jones. Tokyo: International Comparative Literature Association, 1995: 200-209. [From castle to hotel]. On theories of enclosure in Gothic fiction as developed by Leonard Engel.

ALVAREZ, Villar Alfonso. "Análisis temático de la literatura terrifica." Arbor 78 (1971): 331-342. [Thematic analysis of terror literature]

ANDERSON, Howard. "Gothic Heroes" In The English Hero, 1660-1800. 0039].

ANDRIOPOULOS, Stefan. "The Invisible Hand: Supernatural Agency in Political Economy and the Gothic Novel," ELH 66:3 (1999): 739-758. Links the Gothic novel to Adam's Smith's The Wealth of Nations (1776). In a famous passage, Smith had used the phrase, "the invisible hand," to suggest the intervening force that balanced private interest against public good in the marketplace. Walpole had also used "the invisible hand" to achieve protection for the heroine in The Castle of Otranto. "The introduction of supernatural elements into the narrative space serves a determinate function comparable to Smith's representation of the economic process whose resolution or closure is ascribed to the market's "invisible hand." Smith's use of a supernatural or Gothic metaphor of intervening power "can be observed in The Mysteries of Udolpho" and many other Gothic novels including Eliza Parsons, Monk Lewis, Sophia Lee, Charles Robert Maturin, and Mary Shelley.

ANGLO, Michael. "Gothic Foundations," In Penny Dreadfuls and Other Victorian Horrors. 0039].

ANDRIANO, Joseph D. "Our Ladies of Darkness: Jungian Readings of the Female Daimon in Gothic Fiction." 0040].

________. Our Ladies of Darkness: Feminine Daemonology in Male Gothic Fiction. 0041].

ARNAUD, Pierre. "Le Roman Gothique et l'Avénement de Femme Moderne." 0042].

________. "Crime et chatiment dans le roman romantique" In La Mort, le fantastique, le surnaturel du XVIe siècle a l'epoque romantique. 0040].

________. "The Gothic Novel" In A Handbook to English Romanticism, Eds. Jean Raimond, J. R. Watson. New York: St. Martin's, 1992: 123-128.

________. "Crime et châtiment dans le roman gothique." In Le Roman noir anglais dit gothique, Ed. Max Duperray. Paris: Ellipses, 2000: 62-68. [Crime and punishment in the Gothic novel]. See GGI: 0040.

ASTLE, Richard Sharp. "Structures of Ideology in the English Gothic Novel." 0041].

BACKUS, Margot Gayle. The Gothic Family Romance: Heterosexuality, Child Sacrifice, and the Anglo-Irish Colonial Order. Durham, NC: Duke University Press, 1999. Traces the dark social history of Ireland from the eighteenth through the twentieth centuries, a political and domestic history of violence and loathsome relationships that is indistinguishable from Gothic horror with families and nationhood haunted by specters of self-destruction and non-identity. The controlling metaphor is that of Saturn devouring his children, parents destroying offspring, or the past eating the present. The Gothic is repeatedly called upon to "depict the social dynamics that perpetuate injustice and sectarian hatred" in the self, in the family, and in a nation divided. The chapters are: 1. The Other Half of the Story: English and Irish Social Formations, 1550-1700. 2. "Does She Not Deserve to Pay for All This?" Compulsory Romance in the Constricting Family Cell. 3. "Something Valuable of Their Own": Children, Reproduction, and Irony in Swift, Burke, and Edgeworth. 4. "A Very Strange Agony": Parables of Sexual Subject Formation in Melmoth the Wanderer, Carmilla, and Dracula. 5. Irish Gothic Realism and the Great War: The Devil's Bargain and the Demon Lover. 6. Somebody Else's Troubles: Post-treaty Retrenchment and the (Burning) Big House Novel. 7. "Perhaps I May Come Alive": Mother Ireland and the Unfinished Revolution. Notes, Bibliography, Index.

BAKER, Donald Whitelaw. "Themes of Terror in Nineteenth Century English Fiction." 0042].

BAKER, Ernest. "The Novel of Sentiment and the Gothic Romance," In The History of the English Novel. 0043].

BALDICK, Chris & Robert MIGHALL. "Gothic Criticism." In 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 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 entire edifice 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 Times Literary Supplement.

BALLASTER, Ros. "Wild nights and buried letters: The Gothic 'unconscious' of feminist criticism" In Modern Gothic: A Reader, Eds. Victor Sage & Allan Lloyd Smith. Manchester & New York: Manchester UP, 1996: 58-70. Presents observations on "two important articles of Anglo-American feminist criticism, Mary Jacobus' 'The Buried Letter: Villette', first published in 1979 and Cora Kaplan's 'Wild Nights: Pleasure/Sexuality/Feminism', first published in 1983." The articles underscore the fact that "Female Romanticism finds itself relocating women as subjects only in terms of their relation to the sexuality/sensibility it seeks to deny."

BARBOLINI, Roberto. La Chimera e il Terrore: Saggi sul Gotico L'Aventura e L'Enigma. 0043].

BARCLAY, Glen St. John. Anatomy of Horror: The Masters of Occult Fiction. 0044].

BARFOOT, C .C. "The Gist of the Gothic in English Fiction; or, Gothic and the Invasion of Boundaries." In Exhibited by Candlelight: Sources and Developments in the Gothic Tradition, Eds. Valeria Tinkler Viviani, Peter Davidson, Jane Stevenson. 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. "The Gothic Revival and the Theory of Knowledge in the First Phase of the Enlightenment." In Exhibited by Candlelight: Sources and Developments in the Gothic Tradition, Eds. Valeria Tinkler Villani, Peter Davidson, Jane Stevenson. Amsterdam: Rodopi, 1995: 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."

BASSIN, Henry A. "The Gothic Transformation: Developments in the British Gothic Romance." 0045].

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

BAUGH, Albert C. "Gothic Romance and the Novel of Doctrine" In A Literary History of England. 0046].

BAYER-BERENBAUM, Linda. "The Expansion of Consciousness in Gothic Literature and Art." 0047].

________. The Gothic Imagination: Expansion in Gothic Literature and Art. 0048].

BECKER, Susanne. "Postmodern Feminine Horror Fictions" In Modern Gothic: A Reader, Eds. Victor Sage & Allan Lloyd Smith. Manchester & New York: Manchester UP, 1996: 71-80. Draws examples from Brontë's Jane Eyre, Jean Rhys's Wide Sargasso Sea, Aritha van Hirk's No Fixed Address, Madonna's bra-flashing at the Cannes film festival and others to show how the postmodern feminist Gothic in general engages in the "disruption of feminine myths." In postmodern feminist Gothic, the femme fatale moves from subject to object.

________. Gothic Forms of Feminine Fiction. Manchester: Manchester UP, 1999. The book aspires to be an all-encompassing study of female Gothicism in English and Canadian cultures. It focuses on English-Canadian texts "that have played an important if not always acknowledged role in shaping 'gendered' writing over the last twenty years." The ideological premise that grounds the study leads to two conclusions that draw these texts into what purports to be a single unified field theory of feminine fiction's Gothic form: "first, there is a continuity, on ongoing elaboration of women's gothic intertextualisations; second, deconstruction [is] a challenge to the limits of gothic form and to the myths of the feminine that shape both that form and the larger order of traditional power structures." For all its intellectual virtues, radical feminist criticism of this sort is divisive and narrowly exclusive as doctrine forces a shift from text to context. In fact, the word "contextualisation" dominates the table of contents. If a text refuses to be feminized according to ideological contexts, it is banished from the canon. Chapter contents: Part I; GOTHIC FORMS -FEMININE TEXTS. Chapter 1. Gothic Contextualisation; Experience, Excess!, Escape? Chapter 2. Gothic Texture; Subjectivity, Interrogativity; romantic love and female desire; Monstrosity: creation and seduction. Chapter 3. Gothic Intertextuality; Filliation, pulp - horror - romance, Canadian connections. Part II; NEO-GOTHICISM: FROM HOUSES OF FICTION TO TEXTURES OF DRESS. Chapter 4. Exploring gothic contextualisation: Alice Munro and Lives of Girls and Women; Gothicising experience, The subject-in-the-making: writing her stories, Connectedness: haunted houses - haunted texts. Chapter 5. Exceeding even gothic texture: Margaret Atwood and Lady Oracle; Re-experiencing gothicism: parody, The subject-in-excess, Terrific escapes: The text as maze. Chapter 6. Stripping the gothic: Aritha van Herk and No Fixed Address; Border experience: naked North, The subject-in-process - and in disguise, Escaping enclosure: the textures of dress. Part III: GOTHIC TIMES AGAIN: TWO HUNDRED YEARS AFTER RADCLIFFE. Chapter 7. The neo-gothic experience. Chapter 8. Exceeding postmodernism. Chapter 9. Global escapes: nineties' gothica. Bibliography, index, and seven illustrations.

BEERS, Henry A. "The Gothic Revival" In A History of English Romanticism in the Eighteenth Century. 0049].

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

BELSEY, Catherine. "The Romantic Construction of the Unconscious" In Reading, Writing, Revolution: Proceedings of the Essex Conference on the Sociology of Literature, July 1981. 0044].

BERKEY-ABBOTT, Kristin Lee. " ' My Relations Act with me as my Enemies ': Domestic Violence as Metaphor, 1794-1850." Dissertation Abstracts International 53:8 (1992): [data]. (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."

BERNSTEIN, Stephen D. "Fugitive Genre: Gothicism, Ideology, and Intertextuality." 0045].

________. "Form and Ideology in the Gothic Novel." 0046].

BHALLA, Alok. "Shades of the Preternatural: Thematic and Structural Essays on the Gothic Novel." 0050].

________. The Cartographers of Hell: Essays on the Gothic Novel and the Social History of England. 0047].

BIERWITH, Gerhard. "Die Problematik des englischen schauerromans: Ein kritisches modell zur behandlung diskriminierter literatur." 0048].

BILLI, Mirella. Il Gothico Inglese: Il Romanzo del Terrore: 1764-1820. 0049].

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

BIRKHEAD, Edith. "Sentiment and Sensibility in the Eighteenth Century Novel." 0051].

________. The Tale of Terror: A Study of the Gothic Romance. 0052].

BISSETT, Alan. "'The Dead Can Sing': An Introduction" to Damage Land:New Scottish Gothic Fiction. Edinburgh : Polygon, 2001. The stories and writers chosen for the anthology confirm that "Scotland's is a fiction haunted by itself, one in a perpetual state of Gothicism." The union of Scotland with Gothicism is both a natural and inevitable connection because "Gothic has always acted as a way of re-examining the past , and the past is the place where Scotand, a country obsessed with re-examining itself, can view itself whole, vibrant, and mystic."

BLAND, D. S. "Endangering the Reader's Neck: Background Description in the Novel." 0053].

BLONDEL, Jacques. "On ' Metaphysical ' Prisons." 0054].

BLOOM, Clive. "Horror Fiction: In Search of a Definition," In 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 Wharton, 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.

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

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.

BOWEN, Kevin J. "The Gothic Novel in England: Studies in a Literary Mode." 0050].

BOWMAN, Barbara. "The Gothic Novel: A Structuralist Inquiry." 0055].

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 fantastic: Of Gothic novels in modern horror narratives]

BRANTLINGER, Patrick. "The Gothic Origins of Science Fiction." 2214].

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

BREEN, Allison. "A Comparison of the Villain-hero in Four English Gothic novels," Master's 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 Strange Case of 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: Robert 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.

BREWSTER, Scott. "Seeing Things: Gothic and the Madness of Interpretation." In 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."

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."

BROWN, Marshall. "A Philosophical View of the Gothic Novel." 0051].

BRUHM, Steven. "Gothic Bodies: The Politics of Pain in Romantic Fiction." 1467].

________. 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."

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.

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 siècle 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.

BUNNELL, Charlene. "The Gothic: Its Worlds and Visions." 0052].

BURRA, Peter. "Baroque and Gothic Sentimentalism." 0057].

CAMERON, Ed. "Relegation of Enjoyment: The Psycho-Pathological Development of the English Gothic Novel." Dissertation Abstracts International 61:9 (2001): 3549 (SUNY at Binghamton). By studying the relationship between the Gothic and psychoanalysis in a variety of Gothic texts, develops a psycholiterary history of the English Gothic novel by "fusing Kantian aesthetic theory and psychoanalysis in order to understand the emergence of the supernatural in the literature of the latter half of the eighteenth-century." Draws upon the Gothic fiction of Walpole, Radcliffe, Lewis and others to show how "the supernatural, as a figure for enjoyment, plays a different role within different Gothic novels."

CAMP, Carolyn Turner. "A Pattern of Female Literary Evolution: From Gothic to Realism, from Hope to Despair. A Study of Six Female Texts, 1791 to 1899." Dissertation Abstracts International 58:6 (1997): 2196A (Indiana University of Pennsylvania). Traces an "evolutionary pattern in female-authored literature from Gothic to Realism via conventions and female concerns." Six texts are cited to demonstrate how "a developing counter-tradition in women's literature established a stronghold in Gothic romances and evolved as a voice of subversive hope until the Realistic period." The texts are Ann Radcliffe's The Romance of the Forest (1791), Charlotte Brontë's Jane Eyre (1847), Emily Brontë's Wuthering Heights (1847), Elizabeth Stuart Phelps's The Story of Avis (1877), Charlotte Perkins Gilman's "The Yellow Wallpaper" (1892), and Kate Chopin's The Awakening (1899). "The pattern culminates in the Realistic period with the statement that women despair of ever being free because they are psychologically and biologically entrapped in roles that are beyond their control."

CANUEL, Mark E. "Holy Hypocrisy and Pastoral Policy: Religion and Nationalism in the Gothic." Studies in Romanticism,34 (1995): 507-530.

CARROLL, Noel. The Philosophy of Horror: or, Paradoxes of the Heart. 0053].

CARSON, James P. "Crime and Conscience in the Gothic Novel." 0054].

________. "Enlightenment, Popular Culture, and Gothic Fiction," In The Canbridge Companion to the Eighteenth Century Novel, Ed. John Richetti. Cambridge, UK: Cambridge UP, 1996: 255-276.

CARTER, Margaret Louise. "Fiend , Specter, or Delusion? Narrative Doubt and the Supernatural in Gothic Fiction." 0055].

________. Specter or Delusion? The Supernatural in Gothic Fiction. 0056].

CASTRICANO, Carla Jodey. "In Derrida's Dream: A Poetics of a Well-Made Crypt." Dissertation Abstracts International 59:1 (1998): 147A (University of British Columbia). Explores the relationship between writing and death, especially Jacques Derrida's "evocation of the living-dead for purposes of theorizing what might be thought of as a poetics of the crypt."Argues that Derrida's poetics of the crypt exist in a certain relationship of correspondence with the Gothic and examines how Derrida's writing intersects or "folds" into hat genre, taking as a premise that each is already inhabited, even haunted, by the other. Uses works by Edgar Allan Poe and Stephen King as case studies.

________. "Cryptomimesis: The Gothic and Jacques Derrida's Ghost Writing." Gothic Studies 2:1 (2000): 8-22. "Seeks to show how Derrida's writing intersects or ' folds ' into the Gothic. . . and to explore how the uncanniness of Derrida's concern with inheritance, revenance, and haunting can be understood through the Gothic and not the other way around." Frequently cites Derrida's The Specters of Marx to make these points.

________. Cryptomimesis: The Gothic and Jacques Derrida's Ghost Writing. Montreal: McGill-Queen's University Press, 2001. This closely written analysis of Jacques Derrida's theories of writing examines the application of these theories to Gothic fiction as these lead to "a poetics of the crypt." Viewed in a Derridean context, the phantom, the living dead, the revenant and other features of the typical Gothic text can be understood as cryptomimetic models of ghost writing. The term "cryptomimesis," as it is applied to Derrida's theorizes, refers to the convergence of philosophy, psychoanalysis, and the traditional formal features of the Gothic. Cryptomimetic writing confronts the reader with "an uneasy model of subjectivity." Commentaries include Derridean interpretations of Gothic texts by Poe, Stoker, Marx, and Stephen King.

CAVALIERO, Glen. The Supernatural and English Fiction. New York: Oxford UP, 1995. Through descriptive and analytic investigation of various Gothic texts, the study proposes to explain "the repeated tendency of English novelists to write about the supernatural, or at any rate about mysterious and inexplicable events." Inquires whether "this attraction towards what one may loosely call the supernatural [is] an attraction towards a comprehensive understanding of the real, or does it amount to a delusion?" The major Gothic novelists constitute a phase of the investigation. Has ten chapters and an epilogue: 1. THE JOKER IN THE PACK: Natural and Supernatural: Wuthering Heights; Literary Theory and the Supernatural; Mystery and the Supernatural; Mystery and the Writing of Fiction. 2. AN ICONOGRAPHY OF FEAR: Horace Walpole and Ann Radcliffe; The Monk and Melmoth the Wanderer; Victorian Gothic: Sheridan Le Fanu; Dracula and The Beetle; M. R. James and the English Ghost Story. 3. WATCHERS ON THE THRESHOLD: Frankenstein; Edward Bulwer-Lytton; Fin de Siècle: Arthur Machen; Algernon Blackwood and David Lindsay; Traveling in Space-Time. 4. AN INSINUATION OF DOCTRINE: George MacDonald; Four Christian Apologists; Charles Williams. 5. TWILIGHT TERRITORIES: Rudyard Kipling; Walter de la Mare. 6. NUMINOUS LANDSCAPES: The Elusiveness of Pan; Countries of the Mind; John Cowper Powys. 7. THE ENEMY WITHIN: James Hogg and Robert Louis Stevenson; Henry James; Elizabeth Bowen; Phyllis Paul. 8. GOD-GAMES: Supernaturalists at Play; William Golding; Iris Murdoch; Muriel Spark. 9. REVERSIONS TO TYPE; The Loss of Paradise; The Ageing of Innocence; Below the Surfaces. 10. THE EARTHING OF THE SUPERNATURAL: Encountering the Supernatural; The Refutation of Single Vision; The Relativity of Absolutes; Naturalism Transfigured. EPILOGUE: AN ABOLISHING OF IDOLS. Notes, a three-part Bibliography, and Index.

CAVALLARO, Dani. The Gothic Vision: Three Centuries of Horror, Terror and Fear. New York: Continuum, 2002.

CHARD, C. R. "Horror and Terror in the Literature of the Grand Tour, and in the Gothic Novel." 0057].

CHEN, Kuo-jung. "The Gothic Narrative Structure: A Generic Reading of Four English Novels: "The Mysteries of Udolpho," "The Monk," "Frankenstein," and "Melmoth the Wanderer." Dissertation Abstracts International 55 (1994): 970A (Wisconsin-Madison). Analyzes these Gothic novels by applying the theory of the fantastic expounded by Todorov. "The spatial structure of the Gothic is often highly geometric and usually shows a claustral image."

________. "The Spatial Structure of Gothic Fiction: Claustral and Geometrical." EurAmerica: A Journal of European and American Studies 28:1 (1998): 91-136.

CHURCH, Elizabeth. "The Gothic Romance: Its Origins and Development." 0058].

CHURCH, Reginald. "Classic History and the Gothic Romance" In English Literature in the Eighteenth Century. 0059].

CLEMENS, Anna Valdine. "The Return of the Repressed: Gothic Horror from ' The Castle of Otranto ' to 'Alien,' " Dissertation Abstracts International 55 (1995): 3501A (University of Manitoba). The first chapter surveys "Gothic precedents in medieval life, Jacobean drama, and eighteenth century literary theory." Gothic novels "dramatically call attention to collective social and psychological problems which have been unrecognized or 'repressed' by the society at large.Terror derives from the conscious ego's resistance to what the unconscious is trying to say."

________. The Return of the Repressed: Gothic Horror from the Castle of Otranto to Alien. Albany: State University of New York Press, 1999. Restates the case for the Gothic as a medium of cultural critique and a genre that is capable of "actually facilitating cultural change." Gothic fiction directs its audience to buried or repressed sociocultural problems and shared but buried anxieties thereby forcing both a fearful and a thoughtful response to these repressions. "Reading Gothic fiction is an atavistic [and enlightening] experience. The ' return ' of the repressed or emergence of whatever has been previously rejected by consciousness, is a fundamental dynamism of Gothic narratives." Leans heavily on Freud's theory of unheimliche or the uncanny, Jung's archetypal referents, and Rudolf Otto's The Idea of the Holy. Too much of the content is a paraphrastic recapitulation of previous Gothic scholarship. Has an Introduction, eight chapters, and an Epilogue with content as follows: "Introduction: What ' Gothic ' Nightmares Do"; "Chapter One: Precedents for Gothic Fear: Medieval Life, Jacobean Drama, and Eighteenth-Century Attitudes"; "Chapter Two: Sexual Violence and Woman's Place: The Castle of Otranto"; "Chapter Three: Sentiment Versus Horror: Generic Ambivalence in Female Gothic and Ann Radcliffe's A Sicilian Romance"; "Chapter Four: Public Censorship and Personal Repression: The Monk"; "Chapter Five: The Industrial Demon: Frankenstein"; "Chapter Six: The Descent of Man and the Anxiety of Upward Mobility; The Strange Case of Dr. Jekyll and Mr. Hyde"; "Chapter Seven: The Reptilian Brain at the Fin de Siècle: Dracula"; "Chapter Eight: American Gothic: Historical and Psychological Critique in Stephen King's The Shining"; "Epilogue: Alien and the Future of Gothic"; Notes; Index; Bibliography of Works Cited. 

CLERY, Emma Juliet. "The Writing of the Supernatural in Eighteenth-Century Britain." Dissertation Abstracts International 54:4 (1992): 986C (University of Sussex). This study is concerned with the representation of ghosts in an 'age of enlightenment.' It identifies a shift from a problematic of truth to an aesthetic affirmation. The thesis is divided into four sections: Chapter 1, 'Techniques of Ghost-Seeing,' surveys the period up to the 1760s, and the making of an aesthetic of the supernatural; Chapter 2, 'The Business of Romance,' examines the first experiments in the literary writing of the supernatural, and the continuing ideological and material barriers to its success; Chapter 3, 'The Strange Luxury of Artificial Terror,' looks at Ann Radcliffe's solution, the device of the 'explained supernatural,' and considers its potential for social critique; Chapter 4, 'Magico-Political Tales,' charts the inflation of terrors in the 1790s, fictional and real, and the final breakdown of the truth problematic.

CLERY, E. J. "The Politics of the Gothic Heroine in the 1790s" In Reviewing Romanticism, Eds. Philip W. Martin & Robin Jarvis. St. Martin's Press: London, 1992: 69-85.

________. E. J. The Rise of Supernatural Fiction, 1762-1800. Cambridge & New York: Cambridge UP, 1995. Not restricted to Gothic novels but including them, the book "considers the emergence of the supernatural into fiction" and begins with a study of reactions to the Cock Lane Ghost in London's East End and considers such topics as "a supernaturalised theory of capitalism." At their best, writers who revert to the supernatural, even in its crassest commercial forms, offer narratives that "engage in complex ways with contemporary social realities." Discusses Walpole, Barbauld, Reeve, Radcliffe, Godwin, and others. Contents: PART I TECHNIQUES OF GHOST SEEING; 1. The case of the Cock Lane Ghost 2. Producing enthusiastic terror. PART II THE BUSINESS OF ROMANCE; 3. The advantages of history 4. Back to the future 5. The value of the supernatural in a commercial society. PART III THE STRANGE LUXURY OF ARTIFICIAL TERROR; 6. Women, luxury, and the sublime 7. The supernatural explained 8. Like a heroine. PART IV MAGICO-POLITICAL TALES; 9. The terrorist system 10. Conspiracy, subversion, supernaturalism. Afterword, Notes, Bibliography, Index.

CLERY, E..J. "Laying the Ground for Gothic: The Passage of the Supernatural from Truth to Spectacle" In Exhibited by Candlelight: Sources and Developments in the Gothic Tradition, Eds. Valeria Tinkler Villani, Peter Davidson, Jane Stevenson. Amsterdam: Rodopi, 1995, 65-74. On the Cock Lane ghost craze of 1762 and the reaction of such observers as Horace Walpole. "The Cock Lane incident marks a shift in paradigms of thought, an ennabling condition for the literary exploitation of supernatural terror, and thus, for the fictional genre we call Gothic."

CLERY, E. J. Women's Gothic: From Clara Reeve to Mary Shelley. Plymouth, UK: Northcote House Publishers Ltd., 2000.

CLERY, E. J. & Robert MILES. Gothic Documents: A Sourcebook 1700-1820. Manchester: Manchester University Press, 2000. An argosy of excerpts from various sources, this collection of documents relevant to the rise and fall of the Gothic novel should prove useful to students of the form at every level. The documents are arranged under six general headings and accompanied by headnotes. The six chapters are: 1. Supernaturalism, Religion, Folklore, Shakepeare (containing such documents as Defoe's A True Relation of the Apparition of One Mrs. Veal); 2. Gothic Origins (containing such documents as Hugh Blairs's A Critical Dissertation on the Poems of Ossian, The Son of Fingal); 3. The Gothic Aesthetic; Imagination, Originality, Terror (containing such documents as Horace Walpole's Preface to the First Edition of The Castle of Otranto); 4. Anti-Gothic (containing such documents as Samuel Taylor Coleridge's review of The Monk); 5. Gothic and Revolution (containing such documents as Burke's Reflections on the Revolution in France); 6. Gothic Renovations (containing such documents as Mary Shelley's essay "On Ghosts"). The declared purposes of the volume, "to open up critical debate" and "to encourage students to follow new routes, make new connections, and read set works on the syllabus in more adventurous and historically informed ways," are well-served by the 85 selections. The work's two flaws lie in the sparse secondary bibliography and the avoidance of commentary on sources of the Gothic in other literatures and languages. The sources relating to the roman noir, or French Gothic novel, are missing from the section on "Gothic and Revolution," for example. For the student new to the form, the documents make it appear that the Gothic was a British commodity exclusively. Previous reference works on Gothic literature should have been cited, especially since pioneers such as Montague Summers first called the attention of scholars to many of the selections the compilers have included. Stricter proofreading might also have eliminated such "howler" errors as "East Lancing" for "East Lansing" in the bibliography.

COHEN, Emily Jane. "Museums of the Mind: The Gothic and the Art of Memory," ELH, 62:4 (1995): 883-905. Studies the Gothic mode, noting that it partook of two 18th-century genres: the aesthetic treatise and the guidebook. Suggests that the Gothic be seen as a manifestation of a desire to create personal histories in which all of life is experienced as a kind of museum.

COHEN-SAFIR, Claude. "Les Voix du mal" In Imaginaires, gothique, néo-gothique, contre-utopie. Littérature et cinéma du domaine anglo-saxon, Ed. Max Duperray. Aix-en-Provence: Publications de l'Université de Provence, 2001: [data].

COLEMAN, William E. "On the Discrimination of Gothicisms." 0060].

________. On the Discrimination of Gothicisms. 0061].

CONRAD, Horst. Die Literarische angst: Das Schreckliche in schauerromantik und detektivgeschichte. 2215].

CONRAD, Peter. "Gothic Follies" In The History of English Literature: One Indivisible Unending Book. 0058].

COOKE, Arthur. "Some Side-lights on the Theory of Gothic Romance." 0062].

CORDASCO, Francesco. "A Poetic Stricture on the Gothic Romance Craze." 2126].

CORNWELL, Neil. The Literary Fantastic: From Gothic to Postmodernism. 0059].

CORTI, Claudia. Sul Discorso Fantastico: La Narriazione Romanzo Gotico. 0060].

CRAWFORD, Gary W. "The Modern Masters, 1920-1980" In Horror Literature: A Core Collection and Reference Guide. 0063].

CUDER-DOMINGUEZ, Pilar. "El gotico escrito por mujeres: Entre el conservadurisimo y el proto-feminisimo" In Estudios de la mujer en el ambito de los paises de habla inglesa, Eds. Margarita Ardanez, Isabel Duran, Domaso Lopez, Felix Martin, Joanne Neff, Esther Sanchez Pardo, Beatriz Villacanas. Madrid: Universitad Complutense de Madrid, 1994: 307-313.

CUENCA, Luis A. "Fantasmas Goticos en la Inglaterra del Siglo de las Luces." 0061].

DAFFRON, Benjamin Eric. Romantic Doubles: Sex and Sympathy in British Gothic Literature, 1790-1830. New York: AMS Press, 2001.

________. "Double Trouble: The Self, the Social Order and the Trouble with Sympathy in the Romantic and Post-Modern Gothic." Gothic Studies 3:1 (2001): 75-83.

DAUTZENBERG, J. A. "Theorien over de Fantastische Literatur." 0062].

DAVENPORT-HINES, Richard. Gothic: Four Hundred Years of Excess, Horror, Evil, and Ruin. New York: North Point Press, 1999; London: Fourth Estate, 1999. A far-ranging survey of the Gothic impulse in the arts, in society, and in individual lives over four centuries. The term "Gothic" is sometimes applied in the broadest sense to refer to various kinds of psychopathic and sociopathic behavior and sometimes in the narrow sense as a literary aesthetic or architectural movement. The Prologue declares the book's goal to be to "explore the fascination with twisted and punished desires, barbarity, caprice, base terrors and vicious life which has underlain the revival of gothic since the eighteenth century." The discussions that follow focus both the physical ruins that abound in Gothic literature, but the "moral ruin," "corporeal ruin," "emotional ruin," and "sociopolitical ruin" that dilapidated buildings signify. Recognizing that "Schlock has always been part of gothic too," the author frequently confronts us with trash and camp examples of the 400 year outburst, but occasionally overextends his obiter dicta as in the erroneous assertion that "Horace Walpole's pioneering Gothic novel The Castle of Otranto (1764) is an extended camp joke." Generally speaking, however, Davenport-Hines's terror tour is stimulating as sociology and valuable as literary criticism. The eleven chapters and their subsections are: CHAPTER 1. The spectre still will haunt us; NAPLES: AN EVER-MOVING PICTURE; SALVATOR ROSA: THE FASCINATION OF HORROR; THOMAS BURNET AND THE SUBLIMITY OF MOUNTAINS; THE AESTHETE EARL OF SHAFTESBURY; COLLECTORS AND GRAND TOURISHTS; THE SCIENCE OF THE CONNOISSEUR. CHAPTER 2. Stark mad with gardens; ALEXANDER POPE; THE POET IN THE GARDEN; THE STAGINESS OF MELANCHOLY; PASTORAL IDYLLS; WILLIAM KENT AND LORD BURLINGTON; LITERARY INSPIRATIONS FOR KENT'S IDEAS; A NEW NATIONAL TASTE; 'KENT INVENTED EIGHTEENTH-CENTURY GOTHIC'. CHAPTER 3. The strength of backward-looking thoughts; POWER HOUSES; THE SYMBOLISM OF CASTLES; LORD LYTTELTON AT HAGLEY; WILLIAM SHENSTONE; INVERARAY AND THE DUKE OF ARGYLL; ALNWICK AND THE DUCHESS OF NORTHUMBERLAND; LORD DORCHESTER'S MILTON ACADEMY; THE LOWTHERS. CHAPTER 4; They are come to tear me to pieces; IRISH GOTHIC; CHARLEVILLE FOREST; MICHELSTOWN CASTLE; BIG GEORGE; THE RUIN OF MICHELSTOWN CASTLE. CHAPTER 5; The dead have exhausted their power of deceiving; MASTERS AND SERVANTS; HORACE WALPOLE; WALPOLE'S LOVE FOR LORD LINCOLN; WALPOLE'S FINAL DISILLUSION; INFLUENCES ON WALPOLE'S GOTHIC NOVEL; THE CASTLE OF OTRANTO; READING WALPOLE. CHAPTER 6; A race of devils; THE FRENCH REVOLUTION; REBELLION IN IRELAND; GOYA; LOS CAPRICHOS; THE MARQUIS DE SADE; 120 DAYS OF SODOM; MATTHEW LEWIS AND HIS MONK; MARY SHELLEY; FRANKENSTEIN. CHAPTER 7; Wild passion for wounding; RACKS OF ENCHANTMENT; PIRANESI; WILLIAM BECKFORD; JAMES WYATT AND LORD BRIDGWATER; MATURIN'S MELMOTH THE WANDERER; PUGIN. CHAPTER 8; This man belongs to me I want him; SLEEPLESS SOULS; EARLY VAMPIRES; FUSELI'S GOBLIN; POLITICAL BLOODSUCKERS; LORD BYRON; POLIDORI'S VAMPIRE; VICTORIAN VAMPIRISM; SHERIDAN LE FANU'S VAMPIRE; BRAM STOKER'S VAMPIRE. CHAPTER 9; Family evil; AMERICAN GOTHIC; CHARLES BROCKDEN BROWN; NATHANIEL HAWTHORNE; EDGAR ALLAN POE; THE MASQUE OF THE RED DEATH; THE FALL OF THE HOUSE OF USHER; SOUTHERN GOTHIC. CHAPTER 10; We'd rather have the iceberg than the ship; INTERIOR GHOSTS; SERIAL KILLERS; MONKEYS; 'THE GOTHIC THAT AGITATES AND WORRIES'; MIRROR-IMAGES; GERMAN GOTHIC FILMS; hOLLYWOOD GOTHIC. CHAPTER 11; Wild mood swings; GOTHIC AFTER BELSEN AND HIROSHIMA; JAMES WHALE'S BIRTH OF FRANKENSTEIN; VAMPIRISM; POPPY Z. BRITE; NEW GOTHS; THE CURE; GOTHIC DIVERSITY; THE CHAPMAN BROTHERS: NEW GOTHIC'S SUPERMEN. Index, 51 black-and-white illustrations, 8 colour plates, 385 endnotes, but no general bibliography.

DAVIES, Helen D. F. "Shapes Half Hid: Psychological Realization in the English and American Gothic Novel." 0063].

DAVISON, Carol Margaret. "Gothic Cabala: The Anti-Semitic Spectropoetics of British Gothic Literature." Dissertation Abstracts International 60:12 (2000): 4438-4439 (McGill University). Studies the career of Wandering Jew firgure in five works of British Gothic literature (Lewis's Monk, Godwin's St. Leon, Maturin's Melmoth the Wanderer, Le Fanu's Carmilla, and Stoker's Dracula) to validate the ignored "fact that the legend of the Wandering Jew signalled a noteworthy historical shift from theological to racial anti-Semitism." Also confirms the figure's "specific ethno-religious aspect and its relation to the figure of the vampire." Argues for a nexus between the character and the "Jewish Question," or more specifically "how the spectres, of Jewish difference and Jewish assimilation haunt the British Gothic novel." Also considers "the Cabala's role in secret societies during two major historic events concurrent with the period of classic Gothic literature--the Spanish Inquisition, a narrative element featured in many Gothic works, and the French Revolution."

DAY, Patrick. In the Circles of Fear and Desire: A Study of Gothic Fantasy. 0064].

DE LA MOTTE, Eugenia Caroline. "Boundaries of the Self: A GothicTheme in the Nineteenth Century." Dissertation Abstracts 43 (1982): 1531A (Harvard University).

________. Perils of the Night: A Feminist Study of Nineteenth Century Gothic. 0065].

DENLON, Michelle. "Pour entre dan le chÂteau." 0066].

D'HAEN, Theo. "Postmodern Gothic" In Exhibited by Candlelight: Sources and Developments in the Gothic Tradition, Eds. Valeria Tinkler Viviani, Peter Davidson, Jane Stevenson. Amsterdam: Rodopi, 1995: 283-294. "The thrust of the fantastic postmodernist use of the Gothic is truly ontological. Among the postmodern Gothicists mentioned are Angela Carter, Margaret Atwood, Robert Coover, Julio Cortazar, Don DeLillo, Stanley Elkin "and so on through the alphabet, with some critics talking of Laurence Sterne, Melville, and Yeats as (proto-) postmodernists."

DOODY, Margaret Anne. "Deserts, Ruins, and Troubled Waters: Female Dreams in Fiction and the Development of the Gothic Novel." 0065].

DORNER-BACHMANN, Hannelotte. Erzählsstruktur und texttheorie: Zu der grundlagen und erzählstheorie unter besonderer analytishcer berücks des märchens und der Gothic Novel. 0067].

DRAKE, George A. "Historical Space in the Eighteenth-Century Novel." Dissertation Abstracts International 58:6 (1998): 2222A (University of Washington). Historical space is a chronotope (time-space) that informs literary representations of history during the "long" eighteenth century. It arises with the great transformations of space produced by exploration, nationalism, and scientific discourse and in the debates between monumental and antiquarian historians about historical evidence and causality." Applies this concept to the Gothic novels of Walpole, Reeve, and Radcliffe, works that are "profoundly unhistorical in the public sense, but whose gothic protagonists obsessively seek visible signs of their private histories in social space, and their interpretations of space mirror their social position."

DUFFY, Maureen. "Gothick Horror" In The Erotic World of Faerie. 0066].

DUHIG, Susan Caroline. "Romantic Pleasure, Gothic Pain, and Enlightenment Subjectivity." Dissertation Abstracts International 54 (1994): 4448A-4449A (Cornell University). On the Marquis de Sade's Justine, Lewis's Monk, Wordsworth's Ruined Cottage, and DeQuincey's Confessions of an English Opium Eater. These Gothic texts and others "elucidate the ways in which the eroticism and irrationality of the English Gothic are, paradoxically, caught up in an historical tendency to mechanize and rationalize pleasure." Particularly important in this respect is the Gothic's "sexualizing of Catholicism." é

DUPERRAY, Max, Ed. Le Roman noir anglais dit "gothique". Paris: Ellipses, 2000. Cet ouvrage fait le point sur les origines anglaises de la littérature gothique. Il sert d'introduction à une réflexion plus approfondie sur ce genre en fournissant au lecteur les bases nécessaires, les extraits illustratifs des grands romans, la bibliographie de l'honnête homme en français et en anglais, ainsi que des pistes à parcourir pour aller plus loin. [This work points out the English origins of Gothic literature. It serves as an introduction to a more profound reflection of this genre furnishing the reader with the necessary foundations, [et] illustrative extracts from the great novels]. Contents: Exégèse du genre. À la source, la séduction des origines by Max Duperray; Une cartographie du sublime by T. Dutoit; De côté de l'histoire: De Walpole à Maturin by Max Duperray; Morphologie du genre by Max Duperray; Crime et chatiment dans le roman gothique by Pierre Arnaud; Vers une théorie plurielle du gothique by Max Duperray; Le moine et son double: lorsqu' Artaud rencontra Lewis by Cl. Davison-Pégon; Les suites du gothique au XIXe by J. Prugnaud; Lecture plurielle du Château d'Otrante by Maurice Lévy; Mrs Radcliffe: The Italian or the Confessionnal of the Black Penitents by R. Bozzetto; Le Moine, de Lewis by Max Duperray; William Godwin, Caleb Williams by I. Hervouet-Farrar; Héros gothique et figure grotesque: Beckford et son Calife by Max Duperray; Charles Robert Maturin, Melmoth the Wanderer by Claude Fierobe; Wieland ou la transformation by M. Amfreville; Northanger Abbey et le roman gothique entre parodie et apologie by C. J. Delogu.

________. "Exégèse du genre. À la source: la séduction des origines" In Le Roman noir anglais dit "gothique", Ed. Max Duperray. Paris: Ellipses, 2000: 1-19. [Genre Exegesis: To the source: The seduction of origins]. Has the following subsections: L'opposition raison/imaginaire [The opposition reason/imagination]; Le débat "roman/romance" [The debate novel/romance]; Le réalisme et le sentimental: les pièges de la sensibilité [Realism and the sentimental: The traps of sensibility]; La sensibilité en marge: un âge dit "préromantique" [Sensibility at the margin: An age called "preromantic"]; Du visuel et du cérébral: arcanes du sublime [The visual and the cerebral: Secrets of the sublime]. Concludes that "La multiplicité des origines atteste aussi le relatif artifice des classifications littéraraires" [The multiplicity of origins also attests to the relative artificiality of literary classifications].

________. "De côté de l'histoire: De Walpole à Maturin" In Le Roman noir anglais dit "gothique", Ed. Max Duperray. Paris: Ellipses, 2000, 29-48. [Side roads of history: From Walpole to Maturin]. This condensed history of Gothicism has the following subsections: Classification de oeuvres [Classification of works]; Horreur et Terreur [Horror and terror]; Grandes étapes du roman gothique anglais [Grand stations of the English Gothic novel]; Les textes foundateur [The founding texts]; Le text originel: Walpole et Otrante [The original text: Walpole and Otranto]; L'heritage de Walpole [The heritage of Walpole]; Les romancieres du gothique [The Gothic novelists]; Le cas Vathek [The case of Vathek]; Mrs. Radcliffe, "le léviathan du 'roman'" [Mrs. Radcliffe, the leviathan of romance]; Une imitatrice de Mrs. Radcliffe, Regina M. Roche [An imitator of Mrs. Radcliffe, Regina Maria Roche]; le Roman gothique doctrinaire: William Godwin [The doctrinaire Gothic novel: Wlliam Godwin]; Une nouvelle veine du gothique: M. G. Lewis et le Moine (1796) [A new vein of Gothic: M. G. Lewis and The Monk]; La descendance du Moine: Charlotte Drake and Shelley [The descendant of The Monk: Charlotte Drake (should be "Dacre") and Shelley]; Maturation du gothique au début du XIXe siècle [The Maturation of the Gothic at the beginning of the 19th century]; Le gothique romantique: Maturin, le pére de Melmoth [The romantic Gothic: Maturin, the father of Melmoth].

________. "Lectures critiques: Vers une théorie plurielle du gothique" In Le Roman noir anglais dit "gothique", ed. Max Duperray. Paris: Ellipses, 2000: 69-79. [Critical Readings: Towards a plural theory of Gothic]. Divided into subsections on the following topics: D'une tentative de classement de méthodes critiques [On a tentative classification of critical methods]; La "redécouverte" de surréalistes [The rediscovery of surrrealists]; Les approches socio-historiques [Socio-historical approaches]; Pour une "mythologie de l'sprit:" La lecture psychanalytique [For a "mythology of spirit": Psychoanalytic reading]; La critique feministe [Feminist critique]; Les lectures nouvelles: Déconstruction et dialogisme [New readings: Deconstruction and dialogism]. Recommends a synthesis of theoretical approaches as the best means for understanding the Gothic. "Cette vision synthétique permet à la fois d'argumenter une lecture plurielle et de redorer le blason d'un genre parfois rélegué au niveau d'une littérature de fantaisie." [This synthetic vision allows for the occasion for arguing for a plural reading and for raising the coat of arms of a genre sometimes relegated to the level of a literature of odd fancy].

DUTOIT, Thomas. "Une cartographie du sublime" In Le Roman noir anglais dit "gothique", Ed. Max Duperray. Paris: Ellipses, 2000: 20-28. [A Cartography of the sublime]. On eighteenth century discourses on the sublime's theoretical basis and the influence on such theories on the rise of Gothic fiction. "Une telle carte permettra à l'étudiant, dans sa lecture du roman gothique, a la chemin de passage entre ces lieux." [Such a map will allow to the student, in his reading of the Gothic novel, a route of passage among these places]. Considers such theorists and practitioners as Joseph Addison, Hugh Blair, John Baillie, James Macpherson, David Hume, and Immanuel Kant.

EASTMAN, Gloria Schultz. "Secrets and Lies: Confession and the Self in the Gothic Novels of England in the 1790s." Dissertation Abstracts International 60:1 (1998): 138A (University of Colorado at Boulder). Explores the use of confession, narrative technique in the gothic novels of the early Romantic period, "as a vehicle through which a changing the notion of the self is transmitted. As the gothic characters confess, their unauthorized discourse functions to name the formerly unnameable and to imagine identities outside of gender and class restrictions. The template for these confessional passages is located in The Confessions by Jean Jacques Rousseau."

EHLERS, Leigh Ann. "From Polarity to Perspective: The Development of Structure and Character in Gothic Fiction." 0067].

ELLIS, Kate Ferguson. The Contested Castle: Gothic Novels and the Subdivision of Domestic Ideology. 0068].

ELLIS, Markman. The History of Gothic Fiction. Edinburgh: Edinburgh University Press, 2000. A textbook history of the genre intended for general and undergraduate use. Sanely constructed and not weighed down with theory, the book employs an historcist approach and is organized along authorial lines. Sees Gothic fiction "in its formal structures, mode of discourse and narrative patterns, [as hosting] a contest between different versions of history." It offers "a critique of the Enlightenment construction of history" on the one hand while "propos[ing] a scepticism not only towards supernatural experience and superstitious belief but toward all naive forms of credulity." Has a Prologue: The history of gothic fiction (On the pleasure derived from objects of terror / Gothic and history) and six chapters: 1. History and the gothic novel (What's gothic about the gothic novel? / Questions of form : the novel and the romance / Questions of history: Goths and the age of enlightenment / Reading history and the gothic constitution / Reading gothic histories: Walpole's The Castle of Otranto / Patriotism, Wilkes and the gothic). 2. Female gothic and the secret terrors of sensibility (Radcliffe and the politics of female sensibility / Radcliffe and gothic masculinity: banditti and tyrants / Radcliffe and the Politics of masculine sensibility / The ' supernatural explained ' and the politics of gothic form / Gothic radicals: Wollstonecraft's The Wrongs of Woman). 3. Revolution and libertinism in the gothic novel (Compositional politics of The Monk / Libertine writing and the revolutionary enlightenment / Lewis and the French revolutionary wars / Lewis and the terror / Publication and the politics of censorship / The Monk: Criticism and censorship). 4. Science, conspiracy and the gothic enlightenment (Charles Brockden Brown: Conspiracy, enlightenment and the supernatural explained / A ' single family ' and ' the condition of a nation ' / Superstition and madness, reason and wonder / Gothic revolutionaries and the secret enlightenment / Conspiracy and enlightenment in Carwin's ' memoirs ' / Fictions of science in Mary Shelley's Frankenstein / Alchemy and modern science / Secresy and subversion). 5. Vampires, credulity and reason (The 1730s vampire controversy / Walpole, the new commecial society and the excise vampire / Antiquarian vampires and the birth of folklore / Romance vampires and the romantic poets / Byron's The Giaour (1813): the vampire as modern tyrant / John William Polidori, The Vampyre and Byron / Vampires and the science of folklore / History, the vampire and Dracula / Modernity and atavism in the vampire). 6. Zombies and the occultation of slavery (Answering the question "What is a zombie?" / Slavery and the zombie / Rebel slaves and the devil-king Zombi / Lafcadio Hearn's zombie stories: history as spectre / Twentieth-century gothic and the zombies of modernity / Modern slavery in Seabrook's The Magic Island / Gothic hybrids and the white zombies / The occultation of miscegenation and slavery in the zombie film). Also has an index, select bibliography of Gothic sources, and 10 plates.

ENG, Steve. "Supernatural Verse in English" In Horror Literature: A Core Collection and Reference Guide. 0068].

________. "The Gothic Era Revisited." Fantasy Commentator 7:4 (1992): 307-309.

ENGEL, Leonard. "The Role of Enclosure in the English and American Gothic Romance." 0069].

ENGLISH, Sarah Warder. "The Hunger of the Imagination: A Study of the Prose Style of Four Gothic Novels," 0227].

ENOMOTO, Futashi. "Gothic Shosetu Shikan: Jinbutsu Wo Chushin to Shite." 0070].

ERNLE, Lord. [Rowland E. Prothero]. The Light Reading of Our Ancestors. 0069].

FERGUSON, Mary Louise Dechert. "My Spectre Around Me: The Reluctant Rebellion of the Gothic Novelists." 2061].

FIEROBE, Claude. "Le Portrait dans le Récit Fantastique" In Vivante tradition: Sources et racines: Evolution de quelques formes et forces en littérature et civilisation anglaises. 0070].

FISHER, Benjamin Franklin IV. "The Residual Gothic Impulse: 1824-1873" In Horror Literature: A Core Collection and Reference Guide. 0071].

FISKE, Christabel. "The Tales of Terror." 0072].

FITZGERALD, Mary E. F. "The Unveiling Power: Nineteenth Century Gothic Fiction in Ireland, England, and America" In Literary Interrelations: Ireland, England, and the World. 0071].

FOSTER, James R. The History of the Pre-Romantic Novel in England. 0073].

FOWLER, Douglas. "The Pleasures of Terror." 0073].

FRANK, Frederick S. "Illustrations from Early Gothic Novels: Explanatory Notes and Commentaries" In Gothic Fictions: Prohibition/Transgression. 0074].

FRY, Carrol. "The Concept of the Sublime in Eighteenth Century Gothic Fiction." 0075].

GALLAWAY, W. F. "The Conservative Attitude Toward Fiction, 1770-1830," PMLA 55 (1940): 1041-1059. Traces the critical reaction to the plethora of Gothic romances. "The novel of sensibility, the Gothic novel, the revolutionary novel, each in turn earned its special measure of opprobrium."

GARBER, Frederick. "Meaning and Mode in Gothic Fiction" In Racism in the Eighteenth Century. 0075].

GARDINER-SCOTT, Tanya. "Androgynous Architecture: Fantasies of Genre-Bending in the British Gothic Novel." In Trajectories of the Fantastic: Selected Essays from the Fourteenth International Conference on the Fantastic in the Arts, Ed. Michael A. Morrison. Westport, CT: Greenwood Press, 1997: [data].

GARRETT, John. "The Eternal Appeal of the Gothic." 0076]

GARTE, HaujÖrg. Kunstform schauerroman: Eine morphorlbegriffsbestimmung die sensationsroman im. 18. jahrhunderts von Walpole's ' Castle of Otranto ' bis Jean Paul's ' Titan. ' 0077].

GAUT, Berys. "The Paradox of Horror." British Journal of Aesthetics 33:4 (1993): 333-45.

GEARY, Robert F. "From Providence to Terror: The Supernatural in Gothic Fantasy" In The Fantastic in World Literature and the Arts. 0076].

________. The Supernatural in Gothic Fiction: Horror, Belief, and Literary Change. 0077].

GESSELL-FRYE, Donna Ann. "Contesting Guardianship, Challenging Authority: The Guardian and Ward Relationships in Gothic and Domestic Fiction, 1789-1793," Dissertation Abstracts International, 56:10 (1996): 3974A (Case Western Reserve University). On Ann Radcliffe's Romance of the Forest, Elizabeth Inchbald's A Simple Story, and Charlotte Smith's Old Manor House. Studies the implications of the guardian-ward relationship in "women's novels previously thought contentless. Radcliffe, Inchbald, and Smith indirectly use images of guardianship to examine these same issues of the uses and abuses of power."

GORDIN-KAVIANI, Revital."A Rake's Progress: The Demonizing of the Rake-Hero." Dissertation Abstracts International 62:3 (2001): 1031 (University of California, Irvine). One version of the libertine or rake is the Gothic hero-villain of the Eighteenth Century. "Popular during the Restoration, becomes progressively more violent during the eighteenth century, then more blood-thirsty until completely demonized by the late nineteenth century. Gothic novels, such as The Monk and The Italian, further link the rake to Satan, intensifying the image of the libertine as demonic lover, while highlighting society's failure to contain the threat he represents." Also traces the rake figure in Scott's Redgauntlet and Stoker's Dracula.

GORDON, Jan B. "Narrative Enclosure as Textual Ruin: An Archeology of Gothic Consciousness." Dickens Studies Annual 11 (1983): 209-238.

GOSE, Elliott B. "The Gothic Novel" In Imagination Indulged: The Irrational in the Nineteenth-Century Novel. 0078].

GOULD, Ellen Yvette. "The Gothic Novel: An Exercise in Definition." 0079].

GOULDER, Nancy Harriet. "The Legacy of the Gothic Novel: The Uncanny and the Logic of the Law." 0081].

GRAHAM, John. "Character and Description in the Romantic Novel." 0080].

GRAHAM, Kenneth W. Gothic Fictions: Prohibition/Transgression. 0082].

GRENIER, Cecilia Marie. "Martyrs, Mystics, and Madwomen: Images of the Nun in Selected Fiction, 1780-1840." Dissertation Abstracts International 47:2 (1986): 524A (SUNY-Binghamton). Analyzes the figure of the nun in Lewis's The Monk, William Henry Ireland's The Abbess, Mrs. Radcliffe's Mysteries of Udolpho and The Italian, Diderot's La Religieuse, and E.T.A. Hoffmann's The Devil's Elixirs. "The Bleeding Nun in Lewis' The Monk typifies the Gothic innovation of the nun as a terror figure. While Ireland's Abbess and Radcliffe's Mysteries of Udolpho and The Italian reflect this paradigm, their nuns also exemplify positive aspects of the Great Mother archetype. Hoffmann's The Devil's Elixirs presents the nun as an anima figure crucial to the hero's development. Since Hoffmann views sex as an obstacle to the higher life, his nuns appropriately symbolize spiritual and transforming love."

GRIXTI, Joseph. Terrors of Uncertainty: The Cultural Contexts of Horror Fiction. 0083].

GROVE, Allen Whitlock. "Coming Out of the Castle: Renegotiating Gender and Sexuality in Eighteenth-Century Gothic Fiction," Dissertation Abstracts International 57:6 (1996): 2491A (University of Pennsylvania) Challenges the view that "the Gothic" is a unified subject of study by arguing that "many critical approaches to Gothic fiction have essentialized this complex and diverse genre and caused the marginalization, if not the effacement, of the wide-ranging constructions of gender and sexuality explored by Gothic writers." Examines Gothic writing through a large number of novels and fragments, "insisting that only by considering the genre in its full messiness can we tease out its complex identity-politics." Uses Lewis's The Monk, Francis Lathom's Midnight Bell, and other Gothics to show "that Gothic fictions reveal a politics of complexity that undermines romance convention and explodes limiting definitions of gender and sexuality."

________. "Coming Out of the Castle: Sexuality and the Limits of Language." Historical Reflections/Reflexions Historiques 26:3 (2000): 429-446. Explores such critical issues as the Gothic's complex and ambivalent relationship to various eighteenth century political, psychological, and scientific ideals and mindsets such as the age's deification of the rational. "Gothic fictions present us with a rich, dynamic battle between simplicity and complexity, the knowable and the unknowable, the commonplace and the ineffable. ' coming out of the castle ' refers to an action we must take as readers. We must step outside the tidy but confining walls of the castle." In addition to the major Gothic novelists, the essay also contains an informative discussion of Francis Lathom's The Midnight Bell.

________. "Sexual Chaos: The Gothic ' Formula ' and the Politics of Complexity" In Disrupted Patterns: On Chaos and Disorder in the Enlightenment, Eds. Theodore Braun, John A. McCarthy. Amsterdam, Netherlands: Rodopi, 2000: 107-118.

GRUNENBERG, Christoph, Ed. Gothic: Transmutations of Horror in Late Twentieth Century Art. Cambridge: MIT Press, 1997. Nine essay/chapters and many plates and still shots. "Gothic presents contemporary art that displays a strong pre-millennial fascination with the dark and uncanny side of the human psyche and attempts to locate it within the context of a revival of a Gothic sensibility in many cultures today." (Grunenberg's acknowledgments) The nine chapters are: "Unsolved Mysteries: Gothic Tales from Frankenstein to The Hair Eating Doll" by Christoph Grunenberg; "Transgression and Decay" by Patrick McGrath; "Edifying Narratives: The Gothic Novel, 1764-1997" by Anne Williams; "Bela Lugosi's Dead and I Don't Feel So Good Either: Goth and the Glorification of Suffering in Rock Music" by James Hannaham; "'Like Cancer in the System': Industrial Gothic, Nine Inch Nails, and Videotape" by Csaba Toth; "Curtains" by Dennis Cooper; "Shivers" by Shawn Rosenheim; "An Inconsolable Darkness: The Reappearance and Redefinition of Gothic in Contemporary Cinema" by John Gianvito; "Reflections on the Grotesque" by Joyce Carol Oates. To the dismay of orthodox bibliographers, the page numbers are in backward sequence beginning with page 218. Strange system but probably acceptable in the Gothic universe.

GUEST, Harriet. "The Wanton Muse: Politics and Gender in Gothic Theory after 1760" In Beyond Romanticism: New Approaches to Texts and Contexts. 0084].

GUNZENHAUSER, Randi. Horror at Home: Genre, Gender und das Gothic Sublime. Essen: Blaue Eule, 1993.

HAGEDORN, Jutta Angelika. "Der gotische roman als sozialer roman des spätens achtzehnten jahrhunderts: Eine vergleichende studie englischer und deutscher gotischer und sozialer romana." 0085].

HAGGERTY, George E. "Gothic Fiction from Walpole to James: A Study of Formal Development." 0081].

________. "Fact and Fantasy in the Gothic Novel." 0086].

________. Gothic Fiction/Gothic Form. 0087].

HAGGERTY, George E. "Literature and Homosexuality in the Late Eighteenth Century: Walpole, Beckford, and Lewis." 0182]. Reprinte in Homosexual Themes in Literary Studies, Eds. Wayne R. Dynes, Stephen Donaldson. New York: Garland Publishing, 1992: 167-178.

________. "The Gothic Novel, 1764-1824" In The Columbia History of the British Novel, Ed. John Richetti. New York: Columbia UP, 1994: 220-246. The essay has four subsections: "Female Gothic"; "Imps of the Perverse"; "Double Vision"; "Gothic Success/Gothic Failure." Gothic fiction is defined as "an enterprise that breaks fictional codes in order to bring into high relief the inconsistencies of normative culture. Gothic fiction both reflects and reacts to the increasingly ruthless limitations that 'cultural subordination' imposes." Offers a defective secondary bibliography with no mention of the pioneers of Gothic criticism, Montague Summers and Devendra P. Varma.

________. "Gothicism" In The Gay and Lesbian Literary Heritage. New York: Henry Holt, 1995: 336-[data]

________. "Female Gothic (1): Friends and Mothers" and "Afterword: Female Gothic (2): Demonic Love" In Unnatural Affections: Women and Fiction in the Later Eighteenth Century. Bloomington, IN. : Indiana University Press, 1998; Boulder, CO: Net Library, 1999: 52-72, 171-178.

HALBERSTAM, Judith M. "Parasites and Perverts: Antisemitism and Sexuality in Nineteenth Century Gothic Fiction. 0088].

________. Judith. Skin Shows: Gothic Horror and the Technology of Monsters. Durham, NC: Duke UP, 1995. "Gothic fiction is a technology of subjectivity, one which produces the deviant subjectivities opposite which the normal, the healthy, and the pure can be known. Gothic may be loosely defined as the rhetorical style and narrative structure designed to produce fear and desire within the reader." This thesis is tested and developed through the eight chapters: "1. Parasites and Perverts: An Introduction to Gothic Monstrosity;" "2. Making Monsters: Mary Shelley's Frankenstein;" "3. Gothic Surface, Gothic Depth: The Subject of Secresy in Stevenson and Wilde;" "4. Technologies of Monstrosity; Bram Stoker's Dracula;" "5. Reading Counterclockwise: Paranoid Gothic or Gothic Paranoia?" "6. Bodies That Splatter: Queers and Chain Saws;" "7. Skinflick: Posthuman Gender in Jonathan Demme's The Silence of the Lambs;" "8. Conclusion: Serial Killing."

HARING-SMITH, Tori. "The Gothic Novel: A Tale of Terrors Tamed." 0089].

HART, Francis R. "The Experience of Character in the English Gothic Novel" In Experience in the Novel. 0083].

________. "Limits of the Gothic: The Scottish Example" In Racism in the Eighteenth Century. 0084].

________. "Scottish Variations of the Gothic Novel" In The Scottish Novel from Smollett to Spark. 0085].

HARTWELL, David G. "Notes of the Evolution of Horror Literature." 0091].

HARWELL, Thomas Meade. The English Gothic Novel: A Miscellany. 0092].

________. "Toward a Gothic Metaphysic: Gothic Parts." 0093].

________. Ranges of Romanticism: Five for Ten Studies: With Introduction, Notes and Commentaries. 0094].

HASLAG, Josef. " Gothic " im 17. und 18. jahrhundert, eine wort- und- ideengeschichtliche untersuchung. 0086].

HAZEN, Helen. "Gothic" In Endless Rapture: Rape, Romance, and the Female Imagination. 0095].

HENDERSHOT, Cyndy Kay. "Masculinity and the Gothic." Dissertation Abstracts International 56:12 (1996): 4760A-4761A (Texas Tech University). Lacanian analyses of various films, novels, and stories including The Monk, Invasion of the Body Snatchers, The Island of Dr. Moreau, The Italian, Psycho, Dressed to Kill, Frankenstein, "The Birthmark," "Rappaccini's Daughter," "Green Tea," "Olalla," "The Speckled Band," Heart of Darkness, Jane Eyre, "The Villa Desirée," Wide Sargasso Sea, and The Piano. "The Gothic mode works to contaminate realism by introducing an unassimilable force which threatens ideological reality by exposing the limits of that reality."

HENDERSHOT, Cyndy. The Animal Within: Masculinity and the Gothic. Ann Arbor: Univ of Michigan Press, 1998. A dehistoricized reading of the Gothic that views it not in generic but in modal terms "in order to extend the boundaries of the transgressive Gothic from either a rigid periodization in the late eighteenth century or a rigid definition that spans centuries but which puts forth certain machinery . . . in order for a work to be Gothic." As a mode, the Gothic "invades other genres," and "retains its disruptive potential by leaving behind the mummified form and haunting contemporary plots and genres." The Gothic's "treatment of one particular aspect of Western ideology, traditional heterosexual masculinity," results in a "fragmentation of the normative." The emergence of "the animal within" images fears and doubts about traditional masculinity and controllable gender roles. As a mode of psychodramatizing these fears and desires, the Gothic seeks to answer a central question about "who or what is the Other that haunts the traditional man? By even posing the question, these works have acknowledged that traditional heterosexual masculinity is vulnerable." Throughout the study, literary texts are often compared against film texts as in the juxtaposing of Lewis's Monk and Philip Kaufman's Invasion of the Body Snatchers. In the concluding chapter on Jane Campion's film The Piano, Hendershot shows how the 1992 film "employs the Gothic in order to deconstruct many tropes and themes embedded in that mode and reimagines male subjectivity in a Victorian setting by undermining the sexualization of the male imperial master and investigating desire in a marginal man." The eight chapters are: 1. Introduction: Masculinity and the Gothic. Masculinity and the Body: 2. The One-Sex Body in a Two-Sex World. 3. The Possession of the Male Body. Masculinity and Science: 4. Modern Science and the Obliteration of the Feminine. 5. The Animal Within: Darwinism and Masculinity. Masculinity and Imperialism: 6. The Animal Without. 7. The Male Lover. 8. (Re)visioning the Gothic: Jane Campion's Film The Piano. Notes, Bibliography of Works Cited, and Index.

HENDERSON, Andrea. " 'An Embarassing Subject '; Use Value and Exchange Value in Early Gothic Characterization" In At the Limits of Romanticism: Essays in Cultural, Feminist, and Materialist Criticism, Eds. Mary A. Favret, Nicola J. Watson. Bloomington: Indiana UP, 1994: 225-245. Drawing examples from the work of Walpole, Radcliffe and Lewis, shows how "the early Gothic novel makes character a matter of surface, display, and ' consumption' by others. The Gothic novel associates this relational character both with traditional signs of identity and the vagaries of exchange value, focusng on the danger of the old and the new systems of identification represented for an increasingly capitalistic society." This representation of identity accounts for many of the Gothic novel's "peculiar thematic and formal features as well as its lower canonical status and asssociation with the feminine."

HENDERSON, James. "The Gothic Novel in Wales." 0087].

HENNELLY, Mark M. "Framing the Gothic: From Pillar to Post-Structuralism." College Literature 28:3 (2001): 68-99. The article is also an excellent guide to significant shifts in the critical assessment of the Gothic. Covers trends in feminist perspectives on the Gothic and the hegemony of Bakhtin, Derrida, and Lacan in critical circles. Among the leitmotifs that have worked well in the classroom are such themes as "fear of vivisection," "different versions of the Gothic gaze," deadly gardens that grow evil things, and the primacy of architectural spaces in manifold forms of the Gothic. "Architectural spacing or ' writing ' materially embodies Gothicism's semiotic script." Teaching the Gothic has convinced Hennelly that "we must finally remind our students that there is really no sense in either demonizing or domesticating the Gothic. The inner and outer spaces of its architecture teach that it always already does such things to itself, just as it always already does them to us."

HENNESSY, Brendan. The Gothic Novel. 0088].

________. "The Gothic Novel" In British Writers. 0096].

HINCKLEY, David Jesse. "With Uncanny Aim: Horror Fiction, the Repression of Culture, the Cult of the Repressed." Dissertation Abstracts International 59:12 (1998): 4424A (University of California, Riverside). The dissertation proposes that the aesthetic experience of supernatural horror is a form of the uncanny. Argues that "horror is not simply a manifestation of underlying repressed complexes which may be diagnosed by the perceptive reader, but is actually the result of an imaginary subversion of the basic conceptual processes by which we organize reality." Using a sampling of the most popular Gothic fiction furthe "argues that horror in these narratives is generated by literary conventions which evoke a familiar reality for readers, only to undermine it." Discusses Stoker's Dracula as a dark apotheosis of the supernatural Gothic.

HOFMANN, Otto. Studien zum englischen schauerroman. 0089].

HOGLE, Jerrold E. "The Restless Labyrinth: Cryptonomy in the Gothic Novel." 0090].

________. "Romanticism and the ' New Gothic ': An Introduction." Gothic Studies 3:1 (2001): 1-7. The introductory essay to this special issue of Gothic. Comments on Romanticism's links to the Gothic and on "how and why Romantic and post-Romantic variations on the Gothic have powerfully transformed it as much as they have recalled it, even when they have repressed that very foundation."

________. The Cambridge Companion to Gothic Fiction. Cambridge, UK: Cambridge UP, 2002. From the book description: "Fourteen world-class experts provide thorough and revealing accounts of this haunting-to-horrifying type of fiction from the 1760s to the end of the twentieth century. The essays explore the connections of Gothic fictions to political and industrial revolutions, the realistic novel, the theater, Romantic and post-Romantic poetry, nationalism and racism from Europe to America, colonized and post-colonial populations, the rise of film and other visual technologies, the struggles between ' high ' and ' popular ' culture, changing psychological attitudes towards human identity, gender, and sexuality, and the obscure lines between life and death, sanity and madness." Chapter Contents: Preface; Contributors; Chronology. 1. Introduction: The Gothic in Western Culture by Jerrold HOGLE. 2. The Genesis of Gothic Fiction by E. J. CLERY. 3. The 1790s: The Effulgence of the Gothic by Robert MILES. 4. The Continental Gothic by Terry HALE. 5. Gothic Fictions and Romantic Writing in Britain by Michael GAMER. 6. The Scottish and Irish Gothic by David PUNTER. 7. English Gothic Theater by Jeffrey N. COX. 8. The Victorian Gothic in English Novels and Stories, 1830-85 by Alison MILBANK. 9. The Rise of American Gothic by Eric SAVOY. 10. Gothic Fiction at the Turn of the Century, 1885-1930 by Kelly HURLEY. 11. The Gothic on Screen by Misha KAVKA. 12. The Colonial and Post-Colonial Gothic by Lizabeth PARAVINISI-GEBERT. 13.The Contemporary Gothic by Steven BRUHM. 14. Aftergothic (Consumption, Machines, and Black Holes) by Fred BOTTING; Guide to Further Reading; Index.

HOLBROOK, William C. "The Adjective ' Gothique ' in the Eighteenth Century." 0091].

HOLLAND, Norman N. & Leona F. SHERMAN. "Gothic Possibilities." 0092].

HOPKINS, Lisa. "Introduction: Monstrosity and Anthropology." Gothic Studies 2:3 (2000): 267-273. Comments on a thematic issue of Gothic linking monstrosity (both marine and mammal) with disturbing points raised by Darwinian thought and theory. "The languages of science and of literature often coalesce; indeed, like monstrosity and anthropology, they have never really been able to keep away from each other."

HORWITZ, Sylvia. "A Study of the Nature and Function of Devices Used in Gothic Fiction in England." 0093].

HOWARD, Jacqueline. Reading Gothic Fiction: A Bakhtinian Approach. Oxford: Clarendon Press; New York: Oxford UP, 1994.

HOWELLS, Coral Ann. "The Presentation of Emotion in the English Gothic Novels of the Late Eighteenth and Early Nineteenth Centuries, With Particular Reference to Ann Radcliffe's Mysteries of Udolpho, Matthew G. Lewis's The Monk, Mary Shelley's Frankenstein, Charles Robert Maturin's Melmoth the Wanderer, Charlotte Brontë's Jane Eyre, and Works by the Minor Minerva-Press Novelists Regina Maria Roche and Mary-Anne Radcliffe." 0094].

________. Love, Mystery, and Misery: Feeling in Gothic Fiction. 0095].

________. "The Gothic Way of Death in English Fiction 1790-1820," British Journal for Eighteenth-Century Studies 5 (1982): 207-215.

HUDSON, Randolph Hoyt. "Hence Vain Deluding Joys: The Anatomy of Eighteenth Century English Gothicism." 0096].

HUME, Robert D. "Gothic Versus Romantic: A Revaluation of the Gothic Novel." 0097].

________. "Lévy on the Gothic Novel." 0098].

HURLEY, Kelly. The Gothic Body: Sexuality, Materialism, and Degeneration at the Fin de Siècle. New York: Cambridge UP, 1997. Hurley explores a key scenario that haunts the genre: the loss of a unified and stable human identity, and the emergence of a chaotic and transformative abhuman identity in its place. Gothic is revealed as a highly productive and speculative genre, strongly indebted to nineteenth-century scientific, medical and social theories, including evolutionism, criminal anthropology and degeneration theory. Organized topically as follows: INTRODUCTION; The Abhuman; Metaphysical Estrangement PART I: THE GOTHIC MATERIAL WORLD 1. The Revenge of matter 2. Symptomatic readings PART II: GOTHIC BODIES; 3. Evolutionism and the loss of human specificity 4. Entropic Bodies (Degenerate sub-species; Abjecting whiteness: H.G. Wells' The Time Machine 5. Chaotic bodies; The Body as palimpsest; "Generalized animalism": Wells' The Island of Dr. Moreau PART III: GOTHIC SEXUALITIES; 6. Uncanny female interiors; "The Inner chambers of all nameless sin": Richar Marsh's The Beetle 7. Abjected masculinities 8. AFTERWORD; Narrative chaos; The Three Imposters: Arthur Machen's urban chaosmos. Concentrates its discussions on late Victorian and early twentieth century British Gothicism, and more particularly, on "the ruination of the human subject and the ruination of traditional constructs of human identity that accompanied the modeling of new ones at the turn of the century."

IDE, Hiroyuki. "Gendai Igerisu: u Genso Shosetsu to Goshikku." 0097].

IMHOF, Rudiger. "Neo-gotische tendenzen im zeitgenossischen roman" In Radikalitat und Massigung; der englische roman seit 1960. Darmstadt: Wissenschaftliche, 1993: 74-93.

JACOBS, Edward H. "Unlearned Monsters: An Archeology of the Gothic Romance." 0098].

________. "Anonymous Signatures: Circulating Libraries, Conventionality, and the Production of Gothic Romances." ELH, 62:3 (1995): 603-29. Drawing evidence from the book catalogues of the publishers Thomas Lowndes and Heavisides, shows statistically how and how many "definitive texts of the gothic genre were published almost exclusively by circulating-library-publishers. By supporting the novelistic construction of female writing as reproductive, yet at the same time developing new, alternative kinds of fiction such as Gothic romances, circulating-library publishers demon-strated that reproductivity could both perpetuate hegemonic 'models' and turn singular 'departures' from hegemonic values into full-fledged sub-cultures."

________. "Dispersing Gothic Discourse." Gothic Studies 1:2 (1999): 182-200. Restates the position taken by Samuel Kliger in The Goths in England (1952) and others "that Gothicism as a recognizable discourse pre-dates the eighteenth century. Both seventeenth-century British Gothicist historiography and fifth- and sixth-century Gothic culture manifestly played major roles in Western culture." Because the word "Gothic" from the sixty century onward "constitutes a single discourse" involving anthropological (tribal) as well as literary associations, its significance ought to play a part in understanding the Gothic during the heyday of the Gothic novel in the eighteenth century. By refining the application of the term, this approach to Gothic discourse "challenges the ways we have traditionally approached Gothicism and reaffirms the view of Gothicism as one of the most vexed and therefore historically-significant discursive 'dispersions' that Western culture has witnessed."

________. Accidental Migrations: An Archaeology of Gothic Discourse. Lewisburg, PA: Bucknell University Press, 2000. This Bucknell Studies in Eighteenth-Century "stubbornly pursues the question of how, if at all, the dis-parate kinds of texts connected by the Oxford English Dictionary's entry for Gothic can be linked as discursive practices. . . These ways of writing linked by the word Gothic constitute a discourse because all of them, in distinct ways, relate the activity of using language to four other activities: migration, collection and display, balancing, and rediscovery." Contents: Introduction, Dispersing Gothic Discourse. 1. Jordanes's Getica and the Rhapsody of Migration; or, How the Goths Came to Kent on De origine actibusque Getarum [Origin of the Deeds of the Goths]. 2. Restituting Possibilities: Gothicist Historiography, the Public Sphere, and the Constitution of Doubt during the English Civil War Period on Nathaniel Bacon's Historical Discourse of the Uniformity of the Government of England. 3. "Time and Trouble": Bolingbroke's the Craftsman and the Gothic Tabulation of Modernity. 4. Horace Walpole and the Culture of Triviality. 5. The Gothic Library: Gothic Romances, Circulating Libraries, and the Culture of Genericism. Appendix on Radcliffe, Eliza Parsons and others. Has an appendix, A Profile of the Publishers of Fiction in M. Heavisides's Circulating-Library Catalog (1790). Notes, bibliography of Works Cited, and Index.

JACOBS, Maureen S. "Beyond the Castle: The Development of the Paradigmatic Female Story." 0099].

JACQUETTE, Arlene. " ' Vile Pruriency for Fresh Adventures ' : Sexuality and Storytelling in Selected Eighteenth Century and Gothic Novels." 0100].

JARRETT, David. The Gothic Form in Fiction and its Relation to History. 0099].

JENNINGS, Richard Jerome. "La Fenetre gothique: The Influence of Tragic Form on the Structure of the Gothic Novel." 0100].

JOHNSTON, Lucy Jeannette. "Types of the Gothic Romance: A Survey of the Major Examples." Master's Thesis, Tufts University, 1929.

JUST, Martin-Christoph. Visions of Evil: Origins of Violence in the English Gothic Novel. Frankfurt am Main & New York: Peter Lang, 1997.

KAHANE, Claire. "Gothic Mirrors and Feminine Identity." 0431].

KANDJI, M. "The Irrational and Supernatural in the English Novel, 1780-1891." 0101].

KARL, Frederick R. "Gothic, Gothicism, Gothicists" In The Adversary Literature: The English Novel in the Eighteenth Century: A Study in Genre. New York: Farrar, Straus, and Giroux, 1974: 235-274. "Adversary" in this context refers to literary counterthrusts against a dominant culture. "In the Eighteenth Century, Gothic is a rubric for many kinds of forces that were gathedring together to chip away at the Augustan ideal," an adversary to the neoclassic outlook. "The one theme that virtually cuts ghrough all Gothic is that of the ' outsider ' embodied in wanderers lifke Frankenstein's monster and Maturin's Melmoth, monks such as Lewis's Ambrosio and Mrs. Radcliffe's Schedoni." The essay closes with the assertion that Maturin's Melmoth the Wanderer is "by far the greatest achievement of the Gothic subgenre."

KAUFMAN, Pamela. "Burke, Freud, and the Gothic." 0101].

KEECH, James M. "The Survival of the Gothic Response." 102].

KEELING, Thomas H. "The Grotesque Vision: Structure and Aesthetics in the British Gothic Novel." 0103].

KELLY, David. "The Gothic Game: The Gothic Genre in Literature." 0102].

KELLY, Gary. "Social Conflict, Nation, and Empire: From Gothicism to Romantic Orientalism." 0103].

KIBBIE, Ann L. "The Woman in the Bargain: Property and Female Character in the Eighteenth Century Novel." 0104].

KIELY, Robert. The Romantic Novel in England. 104].

KIEVITT, Frank David. "Attitudes Toward Roman Catholicism in the Later Eighteenth Century English Novel." 2062].

KILGOUR, Maggie. The Rise of the Gothic Novel. London & New York: Routledge, 1995.

KILLEN, Alice M. Le Roman territiant et roman noir de Walpole à Ann Radcliffe et son influence sur la littérature française jusq'en 1840. 0105]. Rpt. Genève : Slatkine, 2000. Reprinting of an early history of Gothic fiction originally published in 1915. See: GGI-105.

KLEIN Jürgen. Der Gotische roman und die äesthetik des bÖsen. 0106].

________. England zwischen aufklärung und romantik: Studien zur literatur und gesellschaft einer übergangsepoche. 0105].

KLIGER, Samuel. "The Goths in England: An Introduction to the Gothic Vogue in Eighteenth-Century Aesthetic Discussion." 0107].

________. The Goths in England: A Study in Seventeenth and Eighteenth Century Thought. 0108].

KOIKE, Shiguru. "Identity no Jikembo: Goshikku Shosetsu sto Suiri Shosetsu." 0106]

________. Masao SHIMURA, Takao TOMIYAMA. Shiro to Menai: Goshikku wo Yumu. 0107].

KULLMANN, Thomas. Vermenschlichte Natur: Zur Bedeutung von Landschaft und Wetter im Englischen Roman von Ann Radcliffe bis Hardy. Tubingen: Max Niemeyer Verlag, 1995. [Humanized nature: On the significance of landscape and weather in the English novel from Radcliffe to Hardy].

LADYGIN, M. B. "K Voprusu of Evoliutsii Zhanra 'Romana Uzhasa' v Angliiskoi Literature Poloviny XVIII-Nachalo XIX v v." 0108].

LANG, Andrew. "The Supernatural in Fiction," In Adventures Among Books. 0109].

LAUBE, Heike. Les Surréalistes sans le savoir; oder die Gothic Novel aus surrealistischer sicht. Frankfurt: Peter Lang, 1998. [Surrealists without knowing it: Or the Gothic novel out of surrealistic view]. In the series Europaische Hochschulschriften. Reihe XIII, Franzosische Sprache und Literatur, Publications universitaires europeennes. Originally presented as the author's doctoral thesis, Universität Heidelberg, 1997.

LEA, Sydney L. W. "Gothic to Fantastic: Readings in Supernatural Fiction. 0110].

________. Gothic to Fantastic: Readings in Supernatural Fiction. 0111].

LE BRUN, Annie. Les ChÂteaux de la Subversion. 0109].

LEIGH, D. J. "Intimations of Ultimacy in Major British Gothic Novels." Ultimate Reality and Meaning 22:1 (1999): 24-44.

LE TELLIER, Robert Ignatius. "The Intensifying Vision of Evil The Gothic Novel (1760-1820) as a Self-contained Literary Cycke." 0112].

________. An Intensifying Vision of Evil: The Gothic Novel (1760-1820) as a Self-Contained Literary Cycle. 0113].

LÉVY, Maurice. "Le Premier renouveau gothique et la sensibilité anglaise au milieu du dix-huitième siècle." 0114].

________. Le Roman ' gothique ' anglais, 1764-1824. 0114].

________. "Gothique et fantastique." 0116].

________. Images du Roman Noir. 0111].

_______. "Les Illustrations du Roman 'noir' en France à la fin du XVIIIe Siècle." 0112].

________. "Le Roman gothique: Genre anglais." 0113].

________. "Heurs de malheurs d'un mot: ' Gothique ' critiques et sémantique" In Du vebe au geste: Mélanges en l'honneur de Pierre Danchin. Nancy: PU NANCY, 1986: [data]. [The bad fortunes of a word: Critical and semantic "gothique"].

________. "Gothique, grotesque: Preface à l'ebauche d'une reflexion sur une possible relation; Hommage à Maurice Paul Gautier" In Regards Europeens sur le monde, ed. Michel Meslin. Paris: PU de Paris Sorbonne, 1992: 157-166. [Gothic, grotesque: Preface to the rough draft of a reflection on a possible relation; Homage to Maurice Paul Gautier].

________. "'Gothic' and the Critical Idiom" In Gothick Origins and Innovations, Eds. Allan Lloyd Smith, Victor Sage. Amsterdam; Atlanta, Georgia: Rodopi; Costerus New Series 91, 1994: 1-15. Corrects the misuse, overuse, and loose use of the adjective "Gothic" in an effort to restore the word's medieval connotations. "For me, Gothic necessarily conjures up images of female innocence engaged in labyrinthine pursuits and threatened by monachal or baronial lucibricity--in scenes which only Salvator Rosa could have delineated. 'Gothic' has that special eighteenth-century flavour, which attaches itself to ruined castles and abbeys."

________. Le Roman 'gothique' anglais, 1764-824. Paris: Arlin Michel, 1995. Reprint of the 1968 text. [The English Gothic novel].

LEWIS, Paul. "Fearful Questions, Fearful Answers: The Intellectual Functions of Gothic Fiction." 0117].

________. "Fearful Lessons: The Didacticism of the Early Gothic Novel." 0118].

_______. "Beyond Mystery: Emergence from Delusion as a Pattern in Gothic Fiction." 0119].

________. "Mysterious Laughter: Humor and Fear in Gothic Fiction." 0120].

LICHIUS, Frederike. Schauerroman und deismus. 0114].

LLOYD SMITH, Allan. "Postmodernism/ Gothicism" In Modern Gothic: A Reader, Eds. Victor Sage and Allan Lloyd Smith. Manchester & New York: Manchester UP, 1996: 6-19.

LONGUEIL, Alfred E. "The Word ' Gothic ' in Eighteenth-Century Criticism." 0121].

LOOMIS, Emerson R. "The Anti-Gothic Novel." 2129].

LOVECRAFT, Howard Phillips. Supernatural Horror in Literature. 0124].

LÜSEBRINK, Hans-Jürgen. "La Bastille: ChÂteau gothique." 0115].

LYDENBERG, Robin. "Gothic Architecture and Fiction: A Survey of Critical Responses." 0125].

LYNCH, Deirdre. "Gothic Libraries and National Subjects." Studies in Romanticism 40:1 (2001): 29-48. Examines the thematic role of books, manuscripts, parchments, and other documents in Gothic fiction "tracing to its eighteenth century origin this conventional source of Gothic suspense--the moment when the protagonist pries up the cover of the old book and begins to read." Citing a variety of Gothic texts (Mrs. Radcliffe's novels, Scott's The Antiquary, Godwin's Essay on Sepulchres), demonstrates how the Gothic frequently makes books and papers "the origin of plot. . . . From the practitioners of the Radcliffean Gothic Scvott learned what it meant to inherit one's nationality from a dead poets' society."

MAC ANDREW, Elizabeth. The Gothic Tradition in Fiction. 0126].

MAC LEOD, Deborah. "Doth a Single Monk a Gothic Make? Constructing the Boundaries to Keep the Fictional Hordes at Bay" Lumen 16 (1997): 35-52.

MADOFF, Mark Samuel. "Ambivalent and Nostalgic Attitudes in Selected Gothic Novels." 0127].

________. "Inside, Outside, and the Gothic Locked Room Mystery." 0116].

MALCHOW, Howard L. Gothic Images of Race in Nineteenth Century Britain. Stanford, CA: Stanford UP, 1996. Advances a double thesis about the relationship of Gothicism and racism by "mov[ing] back and forth between the imagined world of literature and the 'real' world of historical experience, between fiction and romance on the one hand, . . . and the 'parallel fictions' of the human sciences, of anthopology and biology, between popular representations of the 'unnatural' at home and abroad, between domestic environment and that of empire." Argues first that late eighteenth century Gothic provided "a language that could be appropriated by racists in a powerful and obsessively reiterated evocation of terror, disgust, and alienation" and that the survival and expansion of the Gothic genre in the nineteenth century was abetted by "the context of an expanding experience of cultural conflict, of the brutal progress of European nationalism and imperialism, and was in part a construct of that phenomenon." Thus, racism empowered and frequently engendered Gothicism and Gothicism sanctioned and intensified racism. The four chapters and the epilogue are as follows: 1. Was Frankenstein's Monster "A Man and a Brother"?; "Race" in the Napoleonic Era; Frankenstein; Education and Moral Dilemma; The Victorian Frankenstein; Making Monsters. 2. Cannibalism and Popular Culture; Cannibal Gothic; Cannibalism, White and Black; From the Gothic to the Comic. 3. Vampire Gothic and Late Victorian Identity; Identity and the Gothic Revival; Stoker and the Homosocial; The Vampire as Racial Other. 4. The Half-Breed as Gothic Unnatural; Shadows; A Spreading Realm; The Half-Breed and Rebellion: Three Studies; Full Circle. Epilogue. Race, Gender, and Moral Panic--Miss Jewell's Marriage Revisited; "To Join in Holy Matrimony"; "A Just Impediment"; "Being now come to Years of Discretion"; "Brute Beasts that have no Understanding"; "Ordained for the Procreation of Children"; "Envy, Hatred, and Malice." The Epilogue is a commentary on racist pieces appearing in the British popular press "reporting" the interracial marriage of Miss Florence K. Jewell and the black performer "Prince" Lobengula in August 1899. Fourteen illustrations, notes, bibliography, and index.

MANCA, Mario. Presuppositi morali nelia letteratura gotica inglese. Sassari, Italy: Libreria G. Dessi, 1971.

MARTIN, Rebecca Ellen. "The Spectacle of Suffering: Repetition and Closure in the Eighteenth- Century Gothic Novel." Dissertation Abstracts International 57:8 (1997): 3509A (City University of New York).Using a Freudian/ Lacanian perspective, the study focuses on the reader's "engagement with spectacle" in the Gothic works of Horace Walpole, Ann Radcliffe, Matthew Gregory Lewis, Charlotte Dacre, Mary-Anne Radcliffe, Mary Shelley, Percy Shelley, and Charles Robert Maturin.

MASSé, Michelle A. "Gothic Repetition: Husbands, Horrors, and Things That Go Bump in the Night." 0117].

________. In the Name of Love: Women, Masochism, and the Gothic. 0118].

MASTRODONATO, Paola Galli. "Romans gothiques anglais et traductions françaises: l'année 1797 et la migration de récits." 0119].

MATHEWS, John Robert. "Ghostly Language: A Theory of Gothic Discourse." 0120].

MAY, Leland C. "Parodies of the Gothic Novel." 2130].

________. Parodies of the Gothic Novel. 2131].

MAYERSBERG, Paul. "The Corridors of the Mind." 0128].

MAYO, Robert D. "How Long Was Gothic Fiction in Vogue?" 0129].

MC CARTHY, Mary. "Can There Be a Gothic Literature?" 0130].

MC DAYTER, Ghislaine. " ' Consuming the Sublime ': Gothic Pleasure and the Construction of Identity." Women's Writing: The Elizabethan to Victorian Period 2:1 (1995): 55-75. Applies the feminist theories of Gilbert and Gubar's The Madwoman in the Attic to Gothic fiction.

MC GRATH, Patrick. "Transgression and Decay" In Gothic: Transmutations of Horror in Late Twentieth Century Art. Cambridge, MA: MIT Press, 1997:158-153. [inverse page #s ok, q.v. GRUNENBERG]

MC GUIRE, Karen. "Gothicism" In Encyclopedia of Romanticism: Culture in Britain, 1780s-1830s, Ed. Laura Dabundo. New York: Garland Publishing, 1992: 239-243. A short survey of early Gothicism. Maintains that "the Gothic is firmly rooted in the psychology of the self, especially the unconscious. By vicariously experiencing the perils and terrors that threaten to overwhelm the denizens of Gothic vaults and caverns, readers can confront the grounds or groundlessness of their own fears and better understand their own identities."

MC GUIRE, Sherry. Gothic fiction: Literature of Consent. Boise, ID: Boise State University, 1984.

MC INTYRE, Clara. "Were the Gothic Novels Gothic?" 0131].

MC WHIR, Anne. "The Gothic Transgression of Disbelief: Walpole, Radcliffe, and Lewis." 0187].

MENGAY, Donald Henry J. "Monsters and Menaces: A Study in the Dynamics of Being Other in the Gothic Novel." 0121].

MERIVALE, Patricia. "Gumshoe Gothics: ' The Man of the Crowd ' and His Followers. In Narrative Ironies, Eds. Raymond Prier, Gerald Gillespie. Amsterdam, Netherlands: Rodopi, 1997: 163-179.

MEYERS, Helene. "Femicidal Fears in Contemporary Fiction: Feminist Thought and the Female Gothic." 0122].

________. Femicidal Fears: Narratives of the Female Gothic Experience. Albany: State University of New York Press, 2001. The book is introduced by a short mission statement titled "Critical Femicide: A Polemical Preface" that "suggest[s] that the flight from essentialism in literary studies paradoxically may endanger the continued charting of diversity in female literary traditions and return us to a phallic economy of sameness in more ways than one." Unfortunately, this sort of opaque, jargon-filled writing marks the homicide of language throughout this study. To argue that "contemporary female-authored femicidal plots--plots in which women are killed or fear for their lives--constitute possibilities for understanding and intervening in the vexed and sometimes acrimonious debates about victimology, essentialism, female agency and the female body that have proliferated in recent years" hardly signals a breakthrough in Gothic studies. Chapter 1. Introduction: "Feminist Gothic/Gothic Feminism" is a discussion of feminist theory; Chapter 2. "Gothic Traditions" deals mainly with The Mysteries of Udolpho and Jane Eyre; Chapter 3. "Love Kills" is on sexual murders. Chapter 4. "The Construction of the Sadomasochistic Couple" is on such feminist critics as Halberstam and Moers; Chapter 5. "Paranoia Will Destroy You, or Will It?" is on Gothic narratives by black women; Chapter 6. "The Perils of Postfeminism" discusses antifeminist backlash; Chapter 7. "Beyond Postfeminism: Revaluing the Female Body and the Body Politic" is on Margaret Atwood and others. Epilogue. "Toward Feminisms without Demons" expresses the hope that "the femicidal plots analyzed here affirm that refusing victimization is not a simple study but nevertheless is one worth retelling." Obviously, Gothic criticism has come a long way since the theory-free treatises of Summers and Varma--or have we? Bibliography of "Works Cited" and Index.

MEYERS, Michael R. "The Gothic Novel and the Shaping of British National Identity." Dissertation Abstracts International 59:9 (1998): 3467A (Indiana University of Pennsylvania). Investigates "the relationship between the dominant British cultural movement of the eighteenth and early nineteenth centuries, nationalism, and the Gothic novel. The Gothic novel helped define and disseminate a particularly xenophobic national identity." Concludes that "the Gothic novel is thoroughly nationalist, especially in the literary use of traditional images of Others--southern Europeans and Catholics--as sources of anxiety" and thus motivated English readers "to adhere to a restrictive national identity."

MILES, Robert. "The Gothic Aesthetic: The Gothic as Discourse." 0123].

________. Gothic Writing, 1750-1820: A Genealogy. 0124].

________. "The Eye of Power: Ideal Presence and Gothic Romance." Gothic Studies 1:1 (1999): 10-30. Organized into nine subsections, the essay traces and places the rise of the Gothic in an "emergent modernity," arguing that "the latent 'discursive' complexities of ideal presence are made manifest with a peculiar force in Gothic romance. Section one, "Romanticism and the Gothic Romance," relates Barbara Stafford's ideas in Artful Science to Romanticism and the "Wordsworthian reader." Section two, "The Panopticon," connects Michel Foucault's "eye of power" to specific forms of power in the Gothic novel. Section three, "Ideal Presence," analyzes Lord Kames's Elements of Criticism to the ideal presence of losing oneself in a waking dream. Section four, "Visual Culture," discusses the shift from an oral/visual culture to a textual culture in the Eighteenth Century. "The visual was a site of contestattion, and much Enlightenment effort went into recruitingthe visual to the cause of what it took to be useful knowledge."Section five, "The Visual Aesthetics of Civic Humanism," lists eight features of aesthetic discourse that produced ideal presence. Section six, "The Power of Romance," claims that "the visual/power nexus is most strongly evident in Gothic romance in the fictional devices shaped by the aesthetics of ideal presence." Section seven, "Horace Walpole," argues that readers of The Castle of Otranto must "retreat into irony, into the recognition that the text is a Catholic imposture and, as such, displays an un-Protestant, un-Christian morality." Section eight, "Matthew Lewis and Ann Radcliffe," relates the ideas of Lord Kames to the two Gothic writers. Section nine, "Conclusion," sums up by saying that "ideal presence is the most rewarding point of departure for investigating the visual in Gothic romance."

MISE, Raymond W. "The Gothic Heroine and the Nature of the Gothic Novel." 0132].

________. The Gothic Heroine and the Nature of the Gothic Novel. 0133].

MISHRA, Vijay C. "The Gothic Sublime: Theory, Practice, and Interpretation." 0126].

________. The Gothic Sublime. 0127].

MÖBIUS, Hans. The Gothic Romance. 0134].

MOERS, Ellen. "Traveling Heroinism: Gothic for Heroines" In Literary Women. 0128].

MOHLER, Daniel. Roman gothique et statut historique du corps. Paris: Thèses à la carte, Presses Univérsitaires du Septentrion, rue du Barreau, BP 199, 59654 Villeneuve d'Ascq Cedex, 1996. [Gothic novel and the historical status of the body].

MOORE, Alice F. " ' Dark, irate, and piercing ': Male Heroes of Female-authored Gothic Novels." Dissertation Abstracts International 53:6 (1992): 1927A (University of Massachusetts at Amherst). Applies the feminist psychoanalytic theory of Jessica Benjamin and Nancy Chodorow in order to describe and analyze the sado-masochistic paradigm which structures many female-authored Gothic novels, and which is implicit in some earlier male-authored texts as well." Follows the career of the Satanic hero in Milton's Satan, Richardson's Lovelace, and in five Gothic works by Ann Radcliffe, Charlotte Dacre, Lady Caroline Lamb, Charlotte Brontë, and Emily Brontë. Argues that "women's use of the sado-masochistically informed paradigm to structure relations between men and women both reflects their perception of contemporary male-female psychological dynamics and propels them to imagine a less polarized pattern of engagement with the other, one which, if troubled by conflicts with the larger social world, yet may be sustained in the more private arena of marriage.

MORGAN, Jack. "Toward an Organic Theory of the Gothic: Conceptualizing Horror." Journal of Popular Culture 32:3 (1998): 59-80.. Frames the conceptualizing within Suzanne Langer's theories of art using her introduction to Feeling and Form. "Horror--in a way entirely distinct from tragedy--represents the other side of the comic coin, that it is the inverse of the comic spirit." Authors discussed include Poe, Lovecraft, Melville, Maturin, and Cheever.

MORRISON, Michael A. "Myth and Gender in SF and the Gothic." In Trajectories of the Fantastic: Selected Essays from the Fourteenth International Conference on the Fantastic in the Arts, Ed. Michael Morrison. Westport, CT: Greenwood Press, 1997: [data].

________. "After the Danse: Horror at the End of the Century" In A Dark Night's Dreaming: Contemporary American Horror Fiction, Eds. Tony Magistrale, Michael A. Morrison. Columbia, SC: University of South Carolina Press, 1996: 9-26.

MORSE, David B. "The Social Novel and the Gothic" In Romanticism: A Structural Analysis. 0129].

________. "The Transposition of the Gothic" In Romanticism: A Structural Analysis. 0131] 

________. "Gothic Sublimity." 0130].