Le Fanu published two short stories in The Dublin University Magazine; set in County Limerick and seventeenth-century Milan respectively, 'Ultor de Lacy' and 'Borrhomeo the Astrologer' indicate a breadth of reference which also impresses. These two unacknowledged stories of 1861-2 should be read as part of an anxious Victorian reconsideration of major theological and political themes. With its glimpse of Elizabethan massacre 'Ultor de Lacy' remains an isolated item in Le Fanu's writing. The purported incident upon which it is based is of the kind chronicled in Thomas Stafford's Pacata Hibernica. Ultor De Lacy was neither the butcher of 1601 nor the victim of Ultor O'Donnell's supernatural revenge. He lived between these savage events, implicated in the 1745 Jacobite rising it is true, but a middling fellow, a central character in that apparently immunising sense.

This chapter investigates people’s preparations for their own deaths and their sense of responsibility toward those who had already died. Although they sometimes feared death, people did not despair, for they also believed that death was not the end of a person: while the body was part of this world and therefore material and apt to decay, the soul was eternal. With sections on the fear of death, the idea of a ‘good death’, and the importance of remembrance, this chapter shows that Scottish townspeople made arrangements for their own souls to pass as painlessly as possible into a blessed eternity, and that they attended to the souls of those already deceased, especially to the souls of their blood kin and their civic brethren.

This chapter traces the major people, dates, and places of Charles Robert Maturin's life. Critical suspicion of Maturin is evident in early studies of the Irish novel in which Maturin is very often dismissed as a mere imitator of Owenson, with questionable literary skill at best. More recently, work on Irish literature gestures towards an acknowledgement of Maturin's literary importance. This more often than not confirms his peripheral position in the annals of Irish literary history by reproducing him as a marginal figure. In this respect, Irish literary history has largely erased Maturin's existence from the central narrative of early nineteenth-century Irish literature, thereby effectively 'un-Maturin(ing)' Irish Romantic literature and its historiography. In so doing, twentieth- and twenty-first-century criticism has produced and supported a general cultural ignorance when it comes to Maturin and the details of his life.

This chapter looks at various theoretical discussions about the meaning of democracy, political participation and civic engagement, social capital, community, civil society and public value. Social and political changes do not simply happen, but need an agency to drive them. For D. Beetham, the agency that best fits the bill is the political party. The social capital has the potential to shape and enhance formal political participation and broader forms of civic engagement. In the UK context, at one end of the scale the social capital might include some women's groups and groups made up of specific ethnic identities. At the other end of the scale we might include the Freemasons and golf clubs with high membership fees. Linked to the concepts of social capital and community is the idea of civil society. The discussion of public value relates directly to notions of civic engagement and community.

Graeme Turner's judgement of the place and significance of the period films produced during the revival re-emphasises several key issues already acknowledged in relation to the Ocker comedies and the Australian Gothic. The film credited with inspiring the cycle of period films, and with endowing the new Australian cinema with an aesthetic maturity belying its age, was Picnic at Hanging Rock. Picnic's basis in the Gothic and its extension of its director's interest in alienating subjective experience underline the film's adoption of a period setting in order to offer a critique of authority within a fantasy-horror format. Fred Schepisi's films which use the period setting focus on male experience of intolerance and oppression, and refuse to temper their criticism of prevailing attitudes through simplification of issues or prettification of mise-en-scene. Sirens achieves a belated revival of the period film cycle, while developing the themes of its writer-director.

In The Brothers Grimm, Terry Gilliam is attracted to the darker sense of the fairy tale, understanding it as a suitable genre for mature children and open-minded adults. Bob McCabe had already produced Dark Knights and Holy Fools, a critical survey of Gilliam's films up to Fear and Loathing, and would put together The Pythons Autobiography By The Pythons. The book that came from Gilliam's request, Dreams and Nightmares: Terry Gilliam, The Brothers Grimm, and Other Cautionary Tales of Hollywood, offers a sobering account of the tribulations Gilliam underwent in making The Brothers Grimm. Tideland takes Gilliam into new territory, the world of Gothic horror, and he claimed that in Tideland, Alice in Wonderland meets Psycho. There are elements of the Gothic in The Brothers Grimm, but that film's comic undertones relieve the tension, which builds menacingly in Tideland.

This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book presents acts of hybrid theorization from across the world, from figures within societies colonized by the British, French, and Spanish empires who sought an end to their colonial status or important modifications to it. It includes a diverse array of case studies as a step towards conceptualizing the character of the exchanges, including instances in which the colonized sought to reverse the direction in which ideas flowed. The book covers the well- known case of the Haitian Revolution. It begins in London, with a figure familiar to political theorists for his involvement in colonial projects: John Stuart Mill. The book treats an Indian writer who ultimately, seemingly paradoxically, endorsed British colonialism, which he saw could be an instrument for overcoming Brahmin domination at home.

Historicizing Gothic writing implies a narrative of descent, of change over time. Michel Foucault's theory of discourse will enable the readers to gain an historical purchase on Gothic writing. There are two related ways in which circularity arises to balk the theorist. First, he or she may find that their theory is predicated on the very 'gap' they seek to historicize. Marxist, feminist and psychoanalytical readings are particularly vulnerable here in that they read the repression on which their theories are based back into Gothic texts, thus closing the hermeneutic circle. Foucault instructs us to see the atavistic as circumscribed within the discursive practices of the new. In both Madness and Civilization and The History of Sexuality the specificity of the Gothic moment arises from the clash of incommensurate 'archives'.

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Terence Fisher offered much more complex and less moralistic treatments of the independent women in his post-1962 work for Hammer, but Night of the Big Heat is interesting precisely because of its difference from that Hammer work. Between 1964 and 1967 Fisher directed three science fiction films, The Earth Dies Screaming, Island of Terror and The Night of the Big Heat. A shift of focus is certainly evident in The Gorgon, Fisher's 'come-back' film for Hammer. Scripted by John Gilling from a story by John Llewellyn Devine, it was the first Hammer horror to centre on a female monster. Given that Fisher's first horror film was about Frankenstein, it seems appropriate that his final horror film should deal with the Baron. The Devil Rides Out turns out to be one of Fisher's most impressive films so far as its mise-en-scene is concerned.

This chapter presents the childhood and youth memories of Anne Clifford during the period of 1589-1649. Anne confesses with inexpressible thankfulness that through the goodness of Almighty God and the mercies of Savour Christ Jesus, Redeemer of the world, she was born a happy creature in mind, body and fortune. The chapter discusses Anne's course of life while she was wife and widow to Richard Sackville. Anne lived widow to the noble Richard Sackville, Earl of Dorset, about six years, two months and four or five days over. The chapter also discusses Anne's course of life while she was wife and widow to Philip Herbert. The second marriage of Anne was wonderfully brought to pass by the providence of God for the crossing and disappointing the envy, malice and sinister practices of her enemies.

The stained glass studio established by Joseph Bell in Bristol presents an ideal case study: many of Bell's windows survive intact and rare archival information about the firm survives. In addition to the jobs book Joseph Bell's notebooks have survived, allowing a unique insight into how a glass-painter educated himself in the early Victorian period. The importance of Bell's technical knowledge in the early 1840s is underlined by the type of commissions he received during this period. Bell's connection to the Bristol and West of England Architectural Society (BWEAS) set him in the middle of a group of patrons keen to build, restore and decorate their churches. The availability and proximity of the archaeological information seems to have had a dramatic effect on Bell's glass. Some of the early stylistic labels that Bell attached to his products had nothing to do with the Gothic Revival.

This chapter analyses how Laura Mulvey and Peter Wollen use texts and images of writing in Riddles to create a film that transforms pre-Oedipal pleasures into a site for feminist collaboration. Mulvey and Wollen place the title of the film over the first page of Le Mythe de la Femme. Mulvey returns to the image of Garbo's face superimposed upon the Sphinx, and focuses on the Sphinx's forgotten place in the myth of Oedipus, which is significant for the film's rewriting of maternal femininity. At the centre of Riddles is 'Louise's Story Told in 13 Shots,' the sequence in which the primary narrative of the film unfolds. The fragment leads into the first of the film's 360-degree pans, which circles Louise's kitchen. The Sphinx poses a series of questions that bring feminism, Marxism, and psychoanalysis together, creating an inquiry into the material conditions of motherhood in London in the 1970s.

A painting often regarded as Godfiried Schalcken's masterpiece Lady, Come into the Garden, derives from a parlour game with clear amorous and erotic implications. The painting attributed to Schalcken in Sheridan Le Fanu's story conforms to the conventional descriptions of the painter's style, his treatment of lighting, and placement of human figures. As with certain stylistic rearrangements of incident inside the story, the historical account suggest that Le Fanu has transferred items from debit to credit in a suggestive manner. By the 1830s, the great French Revolution was part of history, and the July Monarchy was in power in Paris. Le Fanu's fiction of the 1830s keeps a sharp eye on French politics, even through the medium of the gothic and the demonic.

The reform of education seemed like a necessary component of, and complement to, social and political change, a point emphasized by legislators in the Legislative Assembly and correspondents across France. These participants in the revolutionary debates over education had inherited the Enlightenment view that systems of education and of governance should mirror one another. They wed that view to the new sense of 'possibilism' unleashed by the French Revolution. Public instruction took shape as a polyvalent approach to education, a political pedagogy that sought to integrate the acquisition of skills, the cultivation of virtue, and the socialization of citizens. The interplay of anticipation, instability, and improvisation that shaped the debates over education was evident in the relative quiet of summer 1789. During the interplay of summer, deputies, administrators, professors, students, and concerned citizens took stock of the revolutionary events that would remake society and inevitably shape the reform of education.