Le Fanu colors Laura’s sexual exploration with Gothic convention and vampirism, and in so doing, reinforces the close relationship that exists between the Gothic and the queer, a relationship that evokes from both Laura and the reader sensations of “fear” alongside “strange tumultuous excitement”
Portrayals of vampire women have changed very little from the nineteenth- to the twentieth-first-century, as is especially evident in the characterisations of the vampire women in ‘Dracula’ and J. Sheridan Le Fanu’s eponymous ‘Carmilla’ (1872) in recent adaptations
Bradbury’s favourite work of fiction, and the one that best exemplifies both the gothic and the carnivalesque qualities of his imagination, is ‘Something Wicked This Way Comes’ (1962)
Mary Shelley conceived her creature at the height of the literary and philosophical period called Romanticism, and Frankenstein became the spirit of the wild, the rough, and the innocent
Sylvia Plath gives us something worse than the ice-cold, unsmiling, lurking, grim reaper
One of the developments in the representation of witchcraft at the end of the twentieth-century is that the portrayal of witch-hunters moves from approbation to repulsion
Articles that have been accepted for publication
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