Titlebook: Beyond Dracula; Bram Stoker’s Fictio William Hughes Book 2000 William Hughes 2000 bibliography.culture.economy.fiction.gender.gothic.knowle

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Pity and Terror: Theology, Morality and Popular Fiction,tical identities vested in sectarian difference are frequently problematic.. This latter is an important critical distinction, though it may be further argued that Gothic fiction articulates simultaneously a subtle sense of ontological unease, the implications of which are mobilised at a more fundamental level than that of sectarian difference.

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Introduction: Reading beyond ,,oker. In obituary tributes, Stoker is consistently portrayed as a gentleman of ‘great height and fine physique’ who ‘seemed to give up his life’ to his employer’s service, so much so that his achievements as Irving’s ‘.’ could only be satisfactorily discerned through the successes of the actor’s lon

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Pity and Terror: Theology, Morality and Popular Fiction,retative distinctions through which political as well as sectarian difference may be proclaimed.. The horror novel, Sage suggests, is but one amongst many cultural forms shaped by the language, imagery and assumptions of a Christian consciousness. In British and Anglo-Irish Gothic, this consciousnes

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, Chivalry, Atavism and Masculinity,he theatrical partnership of Irving and Stoker, holding up the latter as a sort of managerial Sancho Panza to his employer, and suggesting further that this physical heroism may be paralleled by equally spectacular feats of business acumen in the future.

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The Sanguine Economy: Hysteroid Pathology and Physiological Medicine,of alliance: one is ‘of the same blood’, to quote Foucault.. The nation, the race, the family are all structured metaphorically and/or metonymically in terms of blood relations, the individual functioning as a blood-bearing synecdoche of the greater unity in which he — and his blood — circulate.

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