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Father– daughter incest and the economics of exchange
Jenny DiPlacidi

frustration with the monarchial system of government’ and notes that Walpole used the Gothic to ‘parody the very notion of hereditary succession’ in his later Hieroglyphic Tales (1785). 37 Along these lines, James Watt argues that ‘ Otranto ’s position within any larger cultural movement needs to be qualified, since it seems to construct the Gothic as a source of the ridiculous as much as the sublime

in Gothic incest
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‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

's concern with the past as providing essential lessons for the present, particularly in terms of governmental rule and the security of individual rights and liberties. With its central interest in British history's relevance to contemporary society, Longsword has readily lent itself to analysis as an early example of the historical novel more commonly associated with Sir Walter Scott. 5 The gothic elements of the text indicated by Summers’ terminology have less frequently garnered attention. Rolf and Magda Loeber describe Longsword as a pre

in The gothic novel in Ireland, c. 1760–1829
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Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

‘the “normal” exercise of hegemony … is characterized by a combination of force and consent which balance each other so that force … appears to be backed by the consent of the majority, expressed by the so-called organs of public opinion’. 17 Gramsci’s belief that the exercise of hegemony cannot rely entirely on the government’s ‘power and material force’ 18 finds articulation in society through the

in Gothic incest
Open Access (free)
Location the Irish gothic novel
Christina Morin

critical periods in Ireland's history’, as Charlene Adair observes. 12 ‘Conjugal fidelity’ seems similarly to react to the popular unrest and heightened social tensions caused by Irish entanglement in the Free Trade debate of 1778–81 and accompanying ‘political dispute between the Irish patriots and the Castle government’. 13 Its depiction of spiteful Catholic priests prowling the ‘wretched’ Irish countryside in search of victims effectively manipulates Protestant fears of Catholic restlessness in the late 1770s (‘Conjugal fidelity’, p. 186). It correspondingly

in The gothic novel in Ireland, c. 1760–1829
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The cartographic consciousness of Irish gothic fiction
Christina Morin

While, as Connolly argues, the novel's ‘iconography of anti-Catholicism’ implicates it in a prevailing tendency of late eighteenth-century English gothic fiction, it also refuses solely to displace the violence and upheaval of sectarian discord to the Continent. 59 Babington's recognition of the desirability of ‘a well-regulated settled government’ is prompted by the assassination of the Duke de Guise in France, but his experience of his homeland is of a nation similarly riven by bloody religious disputes ( The Jesuit , vol. 3, p. 20). After all, it is in England, as

in The gothic novel in Ireland, c. 1760–1829
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Female sexual agency and male victims
Jenny DiPlacidi

mother in the incest scene, causing disagreement between scholars such as Robert Miles and Clery regarding the play’s subversiveness or adherence to social and political institutions. 28 Regardless of the play’s intention to uphold or ridicule the legitimacy of government and religious institutions, the figure of the mother, in her sexual agency, reveals anxieties about the female body as capable of having aggressive

in Gothic incest
Re-examining paradigms of sibling incest
Jenny DiPlacidi

Mandela’s view of Antigone as symbolic of struggles against government (p. 19). 5 Leslie White, ‘The definition and prohibition of incest’, American Anthropologist (NS), 50:3(1) (1948), 425. See also Claude Lévi-Strauss, The Elementary Structures of Kinship (London: Taylor & Francis, 1969), p

in Gothic incest