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Cousins and the changing status of family
Jenny DiPlacidi

passions, cousin relationships occupy a curious space in which the incestuous nature of the bond is at once diminished and heightened by its relative acceptance by both English society and the law. Cousin marriages may be more permissible than other relationships between blood kin because the consanguineal tie, in terms of shared genetic material, is weaker than those between the more taboo incestuous relationships

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

relationships between fathers and daughters were examined; in particular, how the transgressive nature of father–daughter incest can cause a breakdown of patriarchal society that is more complex than the conventional positioning of paternal incest as representative solely of a threat to the heroine. Incest in the Gothic does not, however, exist exclusively between heroines and their fathers and/or father

in Gothic incest
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Romances, novels, and the classifications of Irish Romantic fiction
Christina Morin

are often accepted without question today. Reviews of White's Earl Strongbow (1789) oscillated in their classifications of the tale as either historical or romantic in nature. The Critical Review briefly dismissed White's use of the ghost of Strongbow to narrate the tale as ‘trite and hackneyed’ before offering a ‘minute’ dissection of the novel's many historical anachronisms. 3 Despite highlighting the ‘inconsistency’ of a language unsuitable to the time of Charles II and various other anachronistic misdemeanours, The Critical Review ultimately commended

in The gothic novel in Ireland, c. 1760–1829
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Incest and beyond
Jenny DiPlacidi

female desire and the exchange of women. Their concerns are embedded within incestuous desires and violations, underscoring how familial structures reproduce social rules and engaging with contemporary debates regarding the nature of kinship and individual rights. In these representations, writers resist the heteronormative demands that would deny any desires with the potential to subvert the economy of

in Gothic incest
Open Access (free)
Female sexual agency and male victims
Jenny DiPlacidi

busy with shopping and philanthropic activities, and prostitutes who had to supply their clients’. 5 The shift from emphasising the incest taboo as biologically rooted to using a sociopolitical lexicon attempts to explain the conditions that lead to incest as both culturally created and unnatural. Mother–son incest is described here as a failure of women to act according to their biological nature as a

in Gothic incest
Open Access (free)
The cartographic consciousness of Irish gothic fiction
Christina Morin

tradition of the castle; or, scenes in the Emerald Isle (1824) – adapt the ideas of cultural encounter and national vindication manifest in the national tale, earlier gothic romances, and contemporary travelogues in order to construct various forms of travel as the key to a post-Union Irish national identity that is primarily transnational in nature. (Un)gothicising Ireland: a case study of Elizabeth Griffith (1727–93) A prolific writer of drama, fiction, and literary criticism, Elizabeth Griffith is best known today for her career

in The gothic novel in Ireland, c. 1760–1829
Father– daughter incest and the economics of exchange
Jenny DiPlacidi

which the transition from nature to culture is accomplished’. 3 The Freudian psychoanalytic preoccupations that underpin much scholarship on the Gothic similarly identify the prohibition of incest as fundamental to the formation of culture, as incest allows adolescents to move from the family into exogamic relationships that complete the transition into culture. Sociological approaches that are

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

- Otranto gothic novel owing to its inclusion of ‘the odious monk, Reginald, the sire of an unholy brood of monastic fiends and baronial tyrants, who appears in scenes of suspense and terror’. 6 A more convincing argument for Longsword 's ‘gothicism’ lies precisely in the novel's ‘historicism’. Longsword 's use of history compellingly speaks to contemporary perceptions of Gothic as evocative of the past, its people, and its traditions. In this, Leland's tale underlines the cross-formal and cross-generic nature of gothic literature as it developed in the latter half of

in The gothic novel in Ireland, c. 1760–1829
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Thefts, violence and sexual threats
Jenny DiPlacidi

are presented as the natural consequence of his control over her body and property. Weimar’s fixation on Matilda is revealed as sexual in nature, not only by his dwelling on her appearance and the rapture with which he greets her, but also by the books he has brought back with him. Weimar has made purchases on his trip away that Matilda views as akin to pornography, from which she instinctively recoils

in Gothic incest
Open Access (free)
Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

offers revealing insights into the nature of the play’s reception. Almost universally condemned or criticised, Walpole’s play was unperformed in his lifetime and was read by a narrow audience as a consequence of its limited print run from Walpole’s Strawberry Hill Press. Burney’s own experience of the play was itself suggestive of the illicit atmosphere that surrounded the work. Though long eager to read

in Gothic incest