Table Of ContentKEY CONCEPTS IN THE GOTHIC
55665522__HHuugghheess..iinndddd ii 1133//1122//1177 1100::4400 AAMM
Key Concepts in Literature
Published titles
Key Concepts in Literary Theory, 3rd edition
Julian Wolfreys et al.
Key Concepts in Contemporary Popular Fiction
Bernice M. Murphy
Key Concepts in the Gothic
William Hughes
www.edinburghuniversitypress.com/series/kcl
55665522__HHuugghheess..iinndddd iiii 1133//1122//1177 1100::4400 AAMM
Key Concepts in
the Gothic
William Hughes
55665522__HHuugghheess..iinndddd iiiiii 1133//1122//1177 1100::4400 AAMM
Edinburgh University Press is one of the leading university presses in
the UK. We publish academic books and journals in our selected subject
areas across the humanities and social sciences, combining cutting-edge
scholarship with high editorial and production values to produce academic
works of lasting importance. For more information visit our website:
edinburghuniversitypress.com
© William Hughes, 2018
Edinburgh University Press Ltd
The Tun – Holyrood Road,
12(2f) Jackson’s Entry,
Edinburgh EH8 8PJ
Typeset in 10/12 Adobe Sabon by
IDSUK (DataConnection) Ltd, and
printed and bound in Great Britain.
A CIP record for this book is available from the British Library
ISBN 978 1 4744 0552 2 (hardback)
ISBN 978 1 4744 0554 6 (webready PDF)
ISBN 978 1 4744 0553 9 (paperback)
ISBN 978 1 4744 0555 3 (epub)
The right of William Hughes to be identifi ed as the author of this work has
been asserted in accordance with the Copyright, Designs and Patents Act
1988, and the Copyright and Related Rights Regulations 2003
(SI No. 2498).
55665522__HHuugghheess..iinndddd iivv 1133//1122//1177 1100::4400 AAMM
Contents
Acknowledgements vii
Introduction 1
A–Z of Key Concepts and Terms 13
Theories of Gothic 163
Fifteen Key Fictional Texts 185
55665522__HHuugghheess..iinndddd vv 1133//1122//1177 1100::4400 AAMM
55665522__HHuugghheess..iinndddd vvii 1133//1122//1177 1100::4400 AAMM
Acknowledgements
Many people within and beyond the academic community have sup-
ported me in myriad ways whilst I have been engaged in writing this
book. Thanks go, fi rst and foremost, to Gillian, who has stood by me
in good times and bad, and who really deserves better than she gets
from an individual implicated in a profession that frequently fails to
recognise that academics deserve uninterrupted weekends and holi-
days unpunctuated by telephone calls. Through her wisdom I have
fi nally begun to understand that life is fi nite, and much more of it
should be reserved for people rather than professions.
Jackie Jones and Adela Rauchova have been wonderfully tolerant
editors during the time it has taken me to bring this work to comple-
tion, and I hope that this volume fulfi ls their expectations. I would also
like to thank James Dale and Fiona Sewell for their support during the
fi nal preparation of the manuscript.
Among the many colleagues who have supported me over a period
of more than twenty-two years as a working Gothicist, I would like
to thank especially Andrew Smith (University of Sheffi eld); Ruth
Heholt (Falmouth University); Matthew Gibson (University of
Macau); John Strachan (Bath Spa University); Emily Alder (Napier
University); Jillian Wingfi eld (University of Hertfordshire); Cath-
erine Robinson (Bath Spa University); Clayton Mackenzie (Hong
Kong Baptist University); Angela Wright (University of Sheffi eld);
Ben Fisher (University of Mississippi); Alison Younger (Sunderland
University); Marius Crişan (Universitatea de Vest din Timişoara);
and two of my recent students who achieved much by a combination
of hard work and scholarly commitment: Isabelle Poggiagliolmi and
Bryony Currass.
The fi nal part of this book was written whilst I was on a research
visit to Argentina and Chile. I’d very much like to thank the many
academic colleagues who were so hospitable during my travels in
55665522__HHuugghheess..iinndddd vviiii 1133//1122//1177 1100::4400 AAMM
viii KEY CONCEPTS IN THE GOTHIC
South America, particularly Romàn Setton (Universidad del Cine,
Buenos Aires); Magdalena Merbilháa Romo (Red Cultural, Santiago
de Chile); Ana Maria Tomassini Aguirre (Villa Maria Academy,
Santiago de Chile); and Jonathan Collao Rudillo (Escuela de Música
Papageno, Villarrica, Chile).
Finally, as always, I would like to express my gratitude for the
consistent support of all my friends and family, particularly my Uncle
Tom (to whom this book is dedicated) and my cousins, but also Carol
and Ian Ward, Brian Killey, Jnr, Kevin Wheeler and Paula Barry,
Karen, Chris, Emily and Thomas Wilson, Colin Edwards, Pat Main
and Brian Weston.
William Hughes, Santiago de Chile
55665522__HHuugghheess..iinndddd vviiiiii 1133//1122//1177 1100::4400 AAMM
For Tom Hughes,
with love.
55665522__HHuugghheess..iinndddd iixx 1133//1122//1177 1100::4400 AAMM
