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1. Catholicism, the Gothic and the bleeding body
2. Mary Shelley, Frankenstein and slavery
3. Death by orgasm: sexual surgery and Dracula
4. Nazis, Jews and Nosferatu
5. The vampire of war
6. Conclusion: conflict Gothic
Bibliography
Index
Marie Mulvey-Roberts is Associate Professor in English Literature at the University of the West of England, Bristol
'Admirable! Now at last I know what "Gothic" means.'
Fay Weldon
'This book breaks new ground in Gothic studies by relating a series
of enduring images of the body in torment to actual historical
events and trends[...] A significant addition to the body of
writing on the Gothic, the study of Gothic as writing on the
body.'
David Punter, Professor of English, University of Bristol
‘Mulvey-Roberts has put together an excellent text that is soundly
designed and structured, rigorously documented and supported
through compact and learned endnotes, and includes cogently argued
concepts, analyses, and interpretations. Dangerous Bodies:
Historicising the Gothic Corporeal will, I hope, become a standard
text for the field.’
Edmund Cueva, The Irish Journal of Gothic and Horror Studies 16
(Autumn 2017)
'… this study is a deeply historicized and thoroughly researched
reading of several canonical Gothic texts and one film, spanning
the period from the eighteenth to the twentieth century … The array
of topics brought together here is dizzying … the past scholarship
and new insights are brought together to create a seamless account
of how the Gothic recounts, parallels, anticipates, and
unfortunately sometimes encourages historical atrocity … Dangerous
Bodies [is] a valuable and unflinching analysis that reaches beyond
our current critical limits.'
Kasee Laster, University of North Georgia, Science Fiction
Studies
‘The gothic imaginary foregrounds the body unlike any other
imaginary. In her methodically researched and richly detailed work,
Dangerous Bodies: Historicising the Gothic Corporeal, Marie
Mulvey-Roberts confirms this truth. Corporal parts, the bloodied
bits, scraps and orts of the human body, and Gothic’s preoccupation
with
threading them often literally together, as in the case of Mary
Shelley’s Frankenstein, are evaluated in Mulvey-Roberts’s text. The
Gothic has always explored, exploited and revelled in the extremes
of the body; it has always enjoyed the messy, monstrous and
grotesque potential that the human form offers. Similarly,
Mulvey-Roberts revels in the critical possibilities and scholarly
opportunities that a study of gothic corporeality holds.’
Hannah Hutchings-Georgiou, University College London, British
Society for Literature and Science
'This exceptionally well-argued volume breaks new ground in liking
the representations of the monstrous body to the historical traumas
that culture responds to, and neatly illuminates the dialectic
relationship between the Gothic body of work and the work of the
Gothic body.'
Gothic Studies
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