Search results

Father– daughter incest and the economics of exchange
Jenny DiPlacidi

’s work was shaped by contemporary novels and political allegories of which he would certainly have been aware. 41 Walpole described his writing of Otranto as a type of therapy ‘during a particularly bad year in parliament’, which evidences his recognition of the tale’s function as a political parody. Sue Chaplin examines ‘the fictions of origin Walpole himself generated in respect of this aberrant

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

his own, though Cromwell tore the inheritance from his family, and reduced his patrimony to the scanty pittance of two hundred pounds a year’ ( Juliana Harley , vol. 2, p. 39). Unlike the proud but sympathetic Prince of Inismore in Owenson's The wild Irish girl , the Prince of Coolavin is offensive in his arrogance, presiding over his household from ‘an oak great chair’ with an iron hand, refusing to allow his wife to eat with him because she does not derive from royal blood, and maintaining always at the side of his throne, in testament to the respect owed to him

in The gothic novel in Ireland, c. 1760–1829
Open Access (free)
Cousins and the changing status of family
Jenny DiPlacidi

circles in the eighteenth century, when only one percent of aristocrats married their first cousins’. 25 These moral and legal concerns regarding cousin marriage and incest eventually gave way to questions of a political and philosophical nature. Pollak notes this shift, arguing that in respect of the earlier debates on cousin marriages that tended to locate the point of argument in ‘the discourse of

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

presented as either alike to the point of being interchangeable in looks, name and nature or as stark opposites. 14 In this respect, Gothic writers foreshadow many of the theories of geneticists regarding attraction and kinship recognition before their advancement. What seems scientific precognition on the part of eighteenth-century writers is rather the articulation of their understandings that bad and good blood is passed

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

. In troubling the idea of sadomasochism as a challenge to authority, Bersani exposes the inadequacies of mere rearticulations truly to subvert ideologies. 8 I believe Bersani’s argument can be applied to literary portrayals of rearticulated ideologies to reveal the paradoxical nature of these depictions as challenges to heteronormativity. In this respect Bersani’s argument is particularly profitable

in Gothic incest
Open Access (free)
Romances, novels, and the classifications of Irish Romantic fiction
Christina Morin

does not simply ‘lampoon what [Barrett] perceived to be bad writing’ but instead, a whole host of writing, both respected and not; in this way, Barrett ‘reinforces the idea that what he is burlesquing is not so much a discredited sub-genre as an entire space of experience’. 41 In William Hazlitt's terms, therefore, it would be a ‘mistake’ to interpret The heroine , or parody in general, as only ‘degrad[ing], or imply[ing] a stigma on the subject’. 42 Underlined by the The heroine 's tongue-in-cheek conclusion is the indeterminacy shared by parody as a technique

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