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Father– daughter incest and the economics of exchange

– in concrete systems of social relationships.’ 31 Rubin resists Lévi-Strauss’s structural anthropological understanding of the incest taboo as the basis of culture because ‘there is an economics and a politics to sex/gender systems which is obscured by the concept of “exchange of women”’. 32 I use these approaches to position the exchange of women as a necessary though not natural demand of

in Gothic incest
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott

-Catholic element of the story focuses not so much on the abuses of the Church but on a kind of institutional corruption that is seen to plague even the highest realms of the nation. 3 In fact, much of the narrative appears to function as a veiled political commentary, lamenting the weakness of a monarch who has allowed himself to be governed completely by an evil minion and urging the return to ‘a wise and virtuous rule’ rooted in England's long history of liberty. 4 The restitution of such a rule and the king's regained sovereignty by the novel's conclusion indicates Leland

in The gothic novel in Ireland, c. 1760–1829
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Romances, novels, and the classifications of Irish Romantic fiction

instructive and entertaining’ versus the romance as fantastical, ‘captivating’, and potentially ‘detrimental’ references contemporary concerns with the regulation of prose fiction. Yet, his blanket term to describe both novel and romance – ‘fictitious biography’ – points to the continued intersection of these forms, as it does to the merging of factual and fictional prose styles in this period. Tellingly, Cherry's re-education revolves not around a shift from ‘romance’ to ‘novel’, but instead from prose fiction to ‘[m]orality, history, languages, and music’ ( The heroine

in The gothic novel in Ireland, c. 1760–1829
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Cousins and the changing status of family

require a prohibition. 13 The changing structures that allowed the cousin to, in certain circumstances, become a desirable marriage choice positions this family role as alternately kin or non-kin, one that is capable of a flexibility that renders it particularly profitable to politically conservative and radical writers of the Gothic. One of the difficulties faced in attempting to trace

in Gothic incest
Re-examining paradigms of sibling incest

; rather, it is an emotional threat that compels her to choose to trade her freedom and virginity for Osbert’s life. Malcolm’s wish to kill Osbert that cedes to his desire to wed Mary is ironically summarised as ‘revenge, at length, yielded to love’ (p. 84). Malcolm’s proposed exchange of Osbert’s life for the body of the beautiful, virginal teenager exposes the asymmetrical gender and sexual politics of

in Gothic incest
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Thefts, violence and sexual threats

questions of legality and the inalienable right of the heroine to make decisions regarding her body. By uniting the persecution of the heroine’s body with concepts of liberty and law, Gothic writers mobilise the female body to enter the typically masculine arena of political rhetoric. Kilgour points to the association of the Gothic with British freedom from tyrannical laws as capable of being used both to

in Gothic incest