Titlebook: Irish Gothics; Genres, Forms, Modes Christina Morin,Niall Gillespie Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Limite

Phagocytes

,Suffering Rebellion: Irish Gothic Fiction, 1799–1830,appropri- ate response to one’s own suffering and guilt is silence. For most of the novel, Grace Nowlan is known only as ‘Onagh of the cavern’, a mys- terious Sibyl who plays a prominent role in imbuing . with a supernatural and gothic atmosphere. Abandoned by her lover, Donald M’Donnell, and then p

hypnogram

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Muscling Up: Bram Stoker and Irish Masculinity in ,ial battle could be fought. The Gothic genre has been concerned with masculinity since its inception. Horace Walpole’s . (1764) begins with an enormous helmet crushing delicate, weakly Conrad, a poor excuse for a man, as if to warn against alternatives to hegemonic masculinity, and ends with Alphons

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整頓

facetious

遺傳學(xué)

–DOX

Inflated

,‘The Old Far West and the New’: Bram Stoker, Race, and Manifest Destiny,er’s . (1902). At the opening of the novel, Archibald Hunter, the leading character, stands on a cliff above Cruden Bay in Scotland after a tragedy in which a local fisherman has drowned, and witnesses a grim procession of ghosts from the remote past of others who had died at the spot:

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