bluuebunny/crossref_metadata_2025 huggingface dataset:
Hawthorne,Nathaniel
Authors: Huang Chiung‐Ying
Published: June 2017

Nathaniel Hawthorne (born Nathaniel Hathorne) (1804–64) was an American novelist and short story writer in the Romantic period in the United States (1828–65), known also as the American Renaissance. Born in the city of Salem, Massachusetts, Hawthorne was a descendant of Puritan immigrants. One of his Salem ancestors, John Hathorne, had been a judge in the seventeenth‐century Salem witchcraft trials, which involved a series of witch hunts and prosecutions of people charged with witchcraft. The notorious history of the Puritan past in colonial Massachusetts had a significant impact on Hawthorne's writing. Using local historical materials, Hawthorne set many of his stories in Massachusetts. In developing an interest in colonial history and Puritan culture, Hawthorne also had a lifelong obsession with crime narratives (seecrime). Hawthorne's notebook and letters of 1830s are scattered with his comments on criminal cases and scandals reported in the press (Reynolds 1989: 250). Hawthorne's fascination with crime reports surfaced in many of his tales, as well asThe Scarlet Letter(1850). Dealing with issues of guilt, hypocrisy, and perversion, Hawthorne imposed his sensibility of popular sensational news upon the Puritan past, imbuing his fiction with profound psychological depth. Like his contemporary writer Edgar Allan Poe, Hawthorne frames his romances with Gothicism and symbolism, moving away from realist fiction (seepoe, edgar allan). For this reason, Hawthorne considered his works of fiction romances rather than novels. Yet, compared to Poe, whose Gothic environments are often unclear and unspecific, Hawthorne was more attuned to explore dark themes in the political and social context of the nineteenth‐century world in which he lived (Punter and Byron 2004: 123).
H
erbert,
J
ames
Authors: Freeman Nick
Published: June 2017

James Herbert (1943–) has been the best‐selling British horror writer since the 1970s, and his influence on the field has been considerable (see
gothic 1950 to the present
). His first novel,
The Rats
(1974), depicted London under siege from mutant, disease‐carrying rodents, and combined the visceral detail increasingly associated with Herbert van Thal's
Pan Horror Stories
series (1959–89), with a strong narrative drive and subversive political critique in identifying the role of self‐interest in the city's postwar redevelopment. Rather than offering Dennis Wheatley's clubland Satanism and mumbo‐jumbo, Herbert was relentlessly up‐to‐date, and the novel blends the London depicted in contemporaneous pulp fiction such as Richard Allen's
Skinhead
(1970) with exciting set‐pieces and explicit sexual description. The effect of Herbert's novel on older writers was roughly analogous to that which punk rock would have on the music industry several years later, and led to a slew of imitators such as Guy N. Smith, Nick Sharman, and Richard Lewis. The most commercially successful of these has been Shaun Hutson.
H
ill,
S
usan
Authors: Scullion Val
Published: June 2017

Susan Hill (1942–) has published twenty or more novels and novellas and numerous collections of short stories since the 1960s. Her oeuvre covers many genres, including radio plays, children's fiction, reviews, autobiography, nonfiction, crime fiction, Gothic novels, and ghost stories. Born in Scarborough and shaped by an isolated, bookish childhood, her fiction is permeated with images of the sea, its tidal reach, and death by drowning. Slimy things dug or dredged up from the past and the dank smells of confined spaces recur frequently, creating a sense of eeriness, the macabre, or psychological disturbance. Hill studied English at King's College, London, and had published two seminal novels,
The Enclosure
(1961) and
Do Me a Favour
(1963), before finishing her degree. The burgeoning of her professional career as a writer was much influenced by the music of Benjamin Britten, especially the “Sea Interludes” from his opera
Peter Grimes
(Scullion 2005: 53–4). Novels and short stories, mostly written in Aldeburgh, Suffolk, proliferated until 1975.
I'm the King of the Castle
(1970) won the Somerset Maugham Award;
The Albatross and Other Stories
(1971) won the Rhys Memorial Prize; and
The Bird of Night
(1972) won the Whitbread Award. Literary echoes of Dickens, Henry James, Crabbe, Coleridge, and many others were, and still are, creatively present in Hill's work (see
dickens, charles
;
james, henry
). Critics have persistently praised her elegant, spare style, social observation, ability to dramatize a wide range of characters, and atmospheric evocation of place (Muir 1982: 274; Lee 2003: paras. 7–8). Initially, however, nascent Gothic motifs went largely unnoted or were considered an aberration (Hofer 1993: 144–5). The primarily realist fiction of Hill's early phase was distinctive in its use of menacing locations, domestic constraints, and marginalized characters.
Hoffmann,E.T.A. (ErnstTheodorAmadeus)
Authors: Scullion Val
Published: June 2017

E. T. A. Hoffmann (1776–1822) was born in Königsberg, Eastern Prussia. His professional life was shaped by the advance and retreat of Napoleon's armies across Germany. He forfeited his position in the Prussian Civil Service by refusing to sign an oath of allegiance to Napoleon in 1807. Loss of income forced him to scrape a living in Berlin from music, which he much preferred to law. From 1808 to 1813 he became a music reviewer, teacher, published composer, and conductor in Bamberg, Southern Germany, and latterly a music director and theater factotum in Dresden and Leipzig. Troop movements, culminating in the Battle of Dresden and the final French retreat in 1813, which he witnessed from the roof of a Dresden church, adversely affected his work in the theater. His famous review (1810) of Beethoven's Fifth Symphony (Hoffmann 1989: 234) and his own operaUndine(1816) testify to his musical insight and talent. His unreliable income prompted him to write fiction as well as compose. His oeuvre includes numerous tales, short fiction, fairy stories, and two novels,The Devil's Elixirs(1815–16), and the unfinishedThe Life and Opinions of Tomcat Murr(1819–22). In 1816 Hoffmann was offered the post of judge at the Supreme Court of Justice in Berlin. He proved himself to be meticulously fair, but his habit of lampooning self‐aggrandizement caused him to face an uncompleted prosecution for libel just before his death from spinal paralysis in 1822. Like his contemporaries Novalis, Wilhelm Heinrich Wackenroder, Ludwig Tieck, and Friedrich Schlegel, Hoffmann was preoccupied with the power of the artistic imagination to transform sensory responses to a material world into something mystical; unusually for a Romantic writer, he perceived this creative transformation with a mischievous sense of humor and a skeptical eye (seegerman gothic).
Horror Fiction
Authors: Wisker Gina
Published: June 2017

Horror in one form or other is at least as old as storytelling itself and appears in a wide range of written, oral, filmic, and other forms. It is an essential troubling accompaniment to the complacencies and mundanity of the everyday, reminding us that behind artifices of comfort and rules, order and stability, wholeness and righteousness, lie the flip sides of these: discomfort, terror, violence, disgust. Freud's use of the term
unheimleich
(1919) theorized this disturbance at the unfamiliar, building on Hoffmann's short story “The Sandman” (1816) (see
uncanny, the
). The destabilizing energies of horror offer a thrill of disturbance and of radicalism, which is why the horror comics of the 1950s were seen as so dangerous, so politically and morally questionable (see Barker 1984). They also offer a disquieting peek behind the curtains of the everyday and the normal, the familiar, and the complacently secure, revealing that this is an artifice, a front. Much conventional horror has always been conservative, and merely entertaining. Mark Jancovich defines its role, and its pleasures:
Inheritance
Authors: Mandal Anthony
Published: June 2017

Inheritance is one of the central motifs of Gothic literature, recurring from the earliest days of the mode to the present. It is no coincidence that the Gothic emerged during a period of massive transformation in the dispensation of wealth across social structures and within families. Property and legitimacy were fundamental to the construction of identity in Western society, and, despite a changing focus of transmission, this remained the case during both the feudal and capitalist eras. Changes in legislation during the nineteenth century went some way toward addressing certain inequalities in society, particularly with regard to women's rights to property, but it would not be until the twentieth century that some measure of balance would be achieved.
James,Henry
Authors: Sausman Justin
Published: June 2017

Henry James (1843–1916) wrote numerous novels, short stories, plays, and travel writing, and was a key theorist of the novel in the late nineteenth century. Born in America and educated throughout Europe, James was from an illustrious family. His father Henry (1811–82) was an unorthodox mystical theologian inspired by the writings of Emanuel Swedenborg; his brother William (1842–1910) was a philosopher and psychologist; and his sister Alice (1848–92) was a noted diarist. James published the first of his 112 short stories in 1864 and his first novel in 1871 and after several years of international traveling moved to London, eventually becoming a British citizen in 1915. James' fiction reflects this perspective, often exploring a clash of European and American cultures in what became known as the “international theme” in novels such asThe Portrait of a Lady(1881). In the early 1890s James embarked upon an ill‐fated attempt to become a dramatist before returning to the writing of fiction in 1895. This later phase produced works includingThe Wings of the Dove(1902) andThe Golden Bowl(1904) which cemented James' critical reputation as a key transitional figure between Victorian realism and the experimental style of literary modernism. James' style of this period is notoriously oblique and complex, rejecting omniscience for the limited perspectives of individual subjectivities. The latter years of James' life were spent producing the monumental New York Edition, a twenty‐four‐volume collection of his work with newly written explanatory (if at times characteristically enigmatic) prefaces.
Law and the Gothic
Authors: Chaplin Sue
Published: June 2017

The term “Gothic” had various, often conflicting, meanings across a range of discourses in eighteenth‐century England. It referred historically to the Germanic tribe that defeated Rome in the fifth century and thus Gothicism was often posited as the antithesis of an Enlightenment neoclassicism that looked to ancient Rome for its inspiration (see Sowerby 2000). The term also had a significant, highly charged ideological presence within eighteenth‐century legal discourse and here its conflicting connotations acquired a particular urgency: if Gothicism was aligned with barbarism on the one hand, it came to signify, on the other, an almost sacred point of juridical origin within an emerging Whig ideology of nationhood. The English body politic and its constitution was seen to have its origin in a Germanic past, in a culture that was virile, free, and implicitly “protestant” (see
protestantism
). This Gothic myth of origin enabled the English constitution to be defined against supposedly corrupt, labyrinthine systems of law that were considered to prevail in Catholic Europe; it famously enabled the most well‐known jurist of the period, William Blackstone, to figure English law as a great “Gothic castle” only in need of moderate renovation to render it a more suitable refuge for the nation (see
roman catholicism
). It is therefore arguable that the Gothic, with all of its conflicting connotations, came to inhabit, or perhaps to
haunt
, the juridical domain at the onset of modernity. From this point on, the Gothic was to have a complex – at times subversive, at times complicit – relation to the rule of law.
Lesbian Gothic
Authors: Palmer Paulina
Published: June 2017

In
Lesbian Gothic: Transgressive Fictions
(1999), in which the term “lesbian Gothic” was coined, Paulina Palmer investigates the way in which contemporary women writers utilize Gothic motifs and narrative structures as a vehicle to represent and explore lesbian sexuality, same‐sex relationships, and the problems attendant on negotiating lesbian existence in heteronormative society. She also explores the connections between the emergence of particular Gothic motifs in this fiction and the changing agenda and priorities of lesbian culture and politics. One of the earliest motifs to receive attention was the witch, employed ambiguously in Barbara Hanrahan's
The Albatross Muff
(1978), Sarah Maitland's “The Burning Times” (1983), and Ellen Galford's
The Fires of Bride
(1986) to signify lesbian victimization by, and resistance to, hetero‐patriarchal power. With the advent of the lesbian sexual radical movement in the late 1980s and 1990s, the vampire, employed by writers to explore an alternative economy of lesbian eroticism, came to the fore, exemplified by Pat Califia's “The Vampire” (1988) and Jewelle Gomez's
The Gilda Stories
(1991). Spectral visitation, evoking psychoanalytic connotations of the return of repressed fears and desires and acting as a metaphor for lesbian invisibility, also infiltrated novels and stories in the 1990s, as illustrated by Molleen Zanger's
Gardenias Where There Are None
(1994), Ellen Galford's
The Dyke and the Dybbuk
(1993), and Emma Donoghue's
Hood
(1995).
L
ovecraft,
H. P
. (
H
oward
P
hillips)
Authors: Hughes William
Published: June 2017

Born of British stock in Providence, Rhode Island, H. P. Lovecraft (1890–1937) is a pivotal figure in the closely related generic traditions of Gothic, fantasy, and science fiction. His mother could trace her American ancestry to the Massachusetts Bay colony, though such a lineage did not invariably convey with it wealth or status in East Coast America. Whatever comforts the family had, the course of the young author's life was disrupted when his father (who dealt in jewelry and precious metals) became psychotic while on a business trip, and was subsequently incarcerated in Providence's Butler Hospital, where he remained until his death in 1898. It has been suggested that Lovecraft senior's condition was a consequence of syphilis, though it is unlikely that the author himself was ever aware of this possibility. With his father necessarily absent, Lovecraft was raised by his mother, aunts, and maternal grandfather. A sickly child, Lovecraft wrote poetry and fiction and dabbled in amateur journalism. Comparative poverty, though, accompanied him throughout his life, particularly through his marriage, which concluded in a divorce. Living in New York for much of his married life, he became disillusioned with regard to the position occupied by Anglo Saxons in communities subjected to immigration, and this fueled a nascent racism that, nonetheless, tended to be expressed in coded rather than direct form in his fictions: “The Horror at Red Hook” (1927) is a notable exception. After his divorce, Lovecraft returned to Providence, where he wrote a considerable body of short fiction, much of it for serial publications such as
Weird Tales
. Poverty still dogged him, however, and his death from cancer was accompanied by malnutrition.
M
acdonald,
G
eorge
Authors: Stelle Ginger
Published: June 2017

The literary career of George MacDonald (1825–1905) was prolific and diverse. After his heterodox religious beliefs cost him his first and only pulpit, he turned his attention to writing and produced an oeuvre which includes poetry, literary essays, sermons, translations, an annotated edition of Shakespeare's
Hamlet
, several short stories, fantasy novels for children and adults, and over two dozen nonfantasy novels. His most prominent literary influences were the English Romantics Wordsworth and Coleridge and the German Romantic Novalis (see
wordsworth, william
). However, he read widely, and his works demonstrate an interest in a variety of literary genres.
M
achen,
A
rthur
Authors: Owen Tomos
Published: June 2017

Arthur Machen (1863–1947) was a Welsh author of novels, short stories, and essays. Though he had a long publishing career, it is for the cluster of Gothic texts he produced in the 1890s and the fin de siècle that he is best remembered.
Melodrama
Authors: Billingham Peter , Farnell Gary
Published: June 2017

Melodrama developed out of its French origins (
melo‐drame
means “drama with melody”). Its late‐eighteenth‐ and early‐nineteenth‐century predecessors evolved from a predominantly Gothic and populist mode into what initially might be termed a form of bourgeois “domestic tragedy.” With this process, melodrama became much less prescribed in its dramatic content and more varied in its range, themes, and concerns. The Marquis de Sade suggested that Gothic fiction was the product of the revolutionary shocks suffered by all of Europe in the later eighteenth century. He could have added that Gothic melodrama was similarly a product of its time.
Melville,Herman
Authors: Crow Charles L.
Published: June 2017

There are Gothic elements in the early work of Herman Melville (1819–91), such as the flaming corpse and the magnetically evil sailor Jackson inRedburn(1849). His Gothic turn really begins, however, with his discovery of Nathaniel Hawthorne (the man and his work) in 1850 (seehawthorne, nathaniel). The resulting burst of creative energy was first recorded in his review “Hawthorne and His Mosses” (1850), which can be seen as a manifesto of American “dark romantic” (i.e., Gothic) ideas, defining not only the work of Hawthorne and Melville but also Poe's (seepoe, edgar allan).
Penny Dreadfuls
Authors: McDowell Stacey
Published: June 2017

Penny dreadfuls were a popular form of Gothic literature published in cheap, serialized installments during the mid‐to‐late nineteenth century. First emerging in the 1840s, they provided Gothic tales of horror, adventure, crime, and romance – all for the price of a penny. Their “dreadful” tag was only attributed in the 1870s when critical campaigns called for the works to be banned owing to their lurid subject matter. Best‐selling titles includedThe Mysteries of London(1844),Varney the Vampire, or the Feast of Blood(Rymer 1847 [also attributed to T. P. Prest]), and the Sweeney Todd thriller, innocuously titledThe String of Pearls(Rymer 1850). Although earlier works (also known as “penny bloods”) were not directly targeted at young readers, their popularity with teenage audiences was quickly recognized by enterprising publishers who began to produce school stories and young‐hero adventure tales such asThe Wild Boys of London(Anon 1864). Each serial comprised weekly “penny part” installments, with the most successful capable of selling up to 40 000 copies.
Postfeminist Gothic
Authors: Brabon Benjamin A. , Genz Stéphanie
Published: June 2017

Postfeminist Gothic emerged as a critical category in the late twentieth and early twenty‐first centuries, reflecting altered gender relations and changes in the feminist landscape. The concept of postfeminism is highly contested, with proposed definitions ranging from popular evocations of “girl power” to cultural analyses of backlash, academic discussions of postmodern/poststructuralist feminism, and political examinations of neoliberal individualism (Genz and Brabon 2009: 1–50). It is this definitional malleability that makes the conceptual alliance of postfeminism and Gothic particularly productive, with both terms exhibiting a penchant for haunting – a gap in the signification process that allows for multiple (and contradictory) meanings. Both concepts are bound up with ghosts of the past that constantly shadow the present and threaten to rematerialize. Just as Gothic is uneasy about its relationship with history, postfeminism is troubled by its problematic ties to its past – feminism. As David Punter notes, “the code of Gothic is […] not a simple one in which past is encoded in present or vice versa, but dialectical, past and present intertwined, and distorting […] each other with the sheer effort of coming to grips” (1996: 198). Along these lines, postfeminism undoubtedly harbors a Gothic impulse, split as it is between backlash tendencies and progressive visions, representations of victimhood and agency.
Psychical Investigation
Authors: Redford Catherine
Published: June 2017

Psychical investigation is the practice, developed in the late nineteenth century, of using empirical means to research phenomena that appear inexplicable according to known scientific models. Such phenomena, which today are better known as “paranormal,” include communication with spirits, hauntings, clairvoyance, and telepathy.
Psychoanalysis
Authors: Luckhurst Roger
Published: June 2017

Toward the end of the nineteenth century, there was a revolution in psychology. The dominant Victorian model of mental disturbance or lunacy was initially conceived in a moral framework but was gradually joined by a scientific, evolutionary perspective. Madness became less moral weakness than a form of biological regression, a loss of the most recently acquired, and thus most fragile, faculty of reason. Although it was held that the healthy will could still master physiological impulses, the mechanism of the body was often regarded as determining the development of the mind, particularly in children, women, and the lower races. From the 1870s, a number of pioneers began to explore the possibility that the psyche might develop and act independently of biology – to some extent, at least.
Race
Authors: Raghunath Anita
Published: June 2017

The connections between race, racial difference, and an anxiety about the alien Other are, to a large extent, inseparable from the origins and evolution of the Gothic genre. Beginning in the eighteenth century and up to the present, the real world of colonial and postcolonial experience finds significant links in the discourse of race in Gothic texts (seeimperial gothic;postcolonial gothic).
Reeve,Clara
Authors: Wright Angela
Published: June 2017

Clara Reeve's (1729–1807) most recognized contribution to the Gothic genre came in the form of her novelThe Old English Baron: A Gothic Story(1778). She was, however, a prolific writer, and was equally renowned in the eighteenth and nineteenth centuries for poetry and critical essays that intervened in debates upon the role of romance, women's education, and the French Revolution. Born in Ipswich in January 1729, she was the eldest daughter of Nicholas and Hannah Reeve. Her father was a curate to the Parish of St. Nicholas in Ipswich, and encouraged her to read newspapers, classical literature, and scientific pamphlets from a very young age. She did not marry and, in order to support her independent living apart from her family, she took to writing in earnest in the 1770s. Her first literary endeavor, published in 1769, was a collection of poetry; her second, an English version of John Barclay'sArgenisentitledThe Phoenix(1772) revealed her classical study and lively interest in politics.
Rice,Anne
Authors: Heholt Ruth , Lloyd Rebecca
Published: June 2017

Howard Allen Frances O'Brien (1941–) was born to an Irish Roman Catholic family in New Orleans in 1941. Named after her father, she adopted the name Anne on her first day at school and became Rice when she married her husband Stan in 1961. She has published over thirty novels to date, the best known of which areThe Vampire Chronicles. Her work is usually categorized as an example of Southern Gothic, this being a subset of American Gothic, although there is evidence throughout Rice's fiction and nonfiction that complicates such definitions. She became an atheist in early adulthood, returning to Catholicism in 2002, but rejected organized religion again in 2010. Her work changes in relation to her personal, spiritual, and religious status but the complexities and blurring of the concepts of good and evil are constantly examined.
Schiller,Friedrich von
Authors: Sage Victor
Published: June 2017

Friedrich von Schiller (1759–1805) was born in Marbach, in the Protestant Duchy of Württemberg, in the old Holy Roman Empire. His father was a field surgeon whom the family were allowed to visit on duty during the Seven Years' War, so the children saw military life at an early age. Schiller himself, whose intellectual capacities were brought to the attention of the Duke of Württemberg, was taken away from his family and boarded at the Karlsschule, Stuttgart, whose rigorous regime bore many of the features of prison life (Alt 2004: 20–1). Lights were kept burning in the dormitories to discourage masturbation; reading by them was forbidden. But the young Schiller was already organizing his fellow pupils as actors in clandestine dialogues and plays that he wrote himself. In 1780, he was obliged to follow his father into the profession as a regimental doctor. Subsequently, he fled into Law, which enabled him covertly to read and write, often in the hospital because he was sickly. Duke Eugen was the ruler of a court in the Holy Roman Empire, a position that gave him absolute power over the bodies and souls of his pupils, and he took a strong interest in the personal thoughts and feelings of individuals. Thus, throughout his schooldays, Schiller had an intimate personal experience of the absolute nature of feudal power, which clearly stimulated his rebellious desire for freedom. In 1781, he secretly wrote his playDie Räuber(The Robbers) for the theater in Mannheim. Mannheim was over the frontier, and thus beyond the Duke's jurisdiction. Schiller was obliged to sneak out of Württemberg over the border at night in a coach without a pass to see the performance of his own play. Subsequently, he was arrested at the Duke's behest, jailed, and forbidden to write anything other than the medical textbooks of his calling. He fled Stuttgart the next year and first took up a post in Mannheim, then settled in Weimar to write. In 1789, he was appointed Professor of History and Philosophy in nearby Jena, where he wrote several important works of history, including a history of the Thirty Years' War. While in Jena, he married Charlotte von Lengefeld (1766–1826), with whom he had four children. He returned to Weimar in 1799, when his friend Goethe persuaded him to write more plays. The result was the rise of a new phase of German drama. In 1802, the Duke of Weimar ennobled him. He died from consumption at the age of forty‐five, at work on his unfinished playDemetrius.
Secret Histories
Authors: Ringel Faye
Published: June 2017

Every Gothic fiction contains a secret history: lost manuscripts, doubled lives, mysterious menaces, dreaded revelations. More narrowly, secret histories are fictional works that offer imaginatively coherent yet nonstandard explanations for events transpiring in consensus reality. John Clute coined the term “Fantasies of History” for “Tales which uncover a Secret History of the World […] with the aid of fantasy devices […] invocations of Elder Gods […] fictional books […] secret masters” (Clute 1997: 334). Secret histories are not confined to the Gothic genre: similar techniques and tropes may be found in autobiography, the secret history of a life, or in nonfiction that presents conspiracy theories as fact (see
secret societies
). Thrillers such as Dan Brown's
The Da Vinci Code
(2003) and its imitators reveal secret histories, as do more ambitious works not generally considered Gothic such as Umberto Eco's
Foucault's Pendulum
(1988), John Crowley's Aegypt sequence (1987–2007), and the novels of Thomas Pynchon and Don De Lillo.
Secret Societies
Authors: Mulvey‐Roberts Marie
Published: June 2017

But in Baruel [sic] I had heard only of Secret Societies that were consciously formed for mischievous ends; or if not always for a distinct purpose of evil, yet always in a spirit of malignant contradiction and hatred. Soon I read of other societies even more secret, that watched overtruthdangerous to publish or even to whisper, like the sleepless dragons that oriental fable associated with the subterranean guardianship of regal treasures. The secresy, [sic] and the reasons for the secresy [sic] were alike sublime. The very image, unveiling itself by unsteady glimpses, of men linked by brotherly love and perfect confidence, meeting in secret chambers, at the noontide of night, to shelter, by muffling, with their own persons interposed, and at their own risk, some solitary lamp of truth […].
Sex
Authors: Anolik Ruth Bienstock
Published: June 2017

The English Gothic officially begins with Manfred, the hero‐villain of Horace Walpole's
The Castle of Otranto
(1764), chasing his dead son's fiancée through the labyrinths of the castle in order to ravish her (see
walpole, horace
). His plan for sexual possession, consensual or otherwise, is motivated neither by love nor lust but by his passion for property and dynasty: to maintain them, he must engender a son. Unlike the romance novels of the eighteenth century, which forged conceptual connections between love, sex, and marriage, suggesting to female readers that men lived for love alone, the new Gothic mode showed its female readers the link between sex and danger, alerting women to the dangerous legal consequences of romance and sex. Under the system of
coverture
, a married woman was legally nonexistent, her identity subsumed, covered, by that of her husband; she could not possess property, children, or her own body. Rape too, played a part in this sordid system: until the Hardwicke Act of 1753, a woman who was raped was compelled to marry the rapist, thus ceding all her property to him. Walpole may have had personal reasons for highlighting the dangers of heterosexuality. There is compelling evidence that he was a homosexual and therefore had a personal stake in dark secrets, repressed and revealed.
Technologies
Authors: Spooner Catherine
Published: June 2017

Gothic has been intimately related to emerging technologies throughout its history. The envisaging of phantoms is bound up with technological effects, from the lights and shadows thrown onto the magic lantern screen, through the emergence of photography, cinema, and television, to the multiple platforms offered by contemporary digital technologies. From the outset, visual technologies were among the paraphernalia of modernity and enlightenment that the Gothic novel mobilized against the unenlightened and barbaric past. However, in technology's capacity to become uncanny, whether conjuring phantoms or creating avatars of the human form, the Gothic novel's investment in rationalism and progress is continually called into question. In Bram Stoker's
Dracula
(1897), for example, modern technologies such as typewriter, camera, and phonograph are tools with which to combat the vampire's ancient menace but also, as Jennifer Wicke demonstrates, enable the mass reproduction of images or documents in a way that parallels the processes of vampirism itself (Wicke 1992).
T
egg,
T
homas
Authors: Potter Franz J.
Published: June 2017

Thomas Tegg (1776–1845) was born in Wimbledon in Surrey. Orphaned at five, he was sent to a boarding school and later apprenticed to Alexander Meggett, a bookseller in Dalkeith, Scotland. Abused by the bookseller, he ran away and briefly made a living selling chapbooks at Berwick. He eventually obtained employment at the
Sheffield Register
, a local newspaper. In 1796 he traveled to London, briefly working at William Lane's Minerva Press in Leadenhall. He eventually secured a position at John and Arthur Arch's bookshop, where he learned the book trade.
Village
G
othic
Authors: Hughes William
Published: June 2017

The early Gothic was characterized by a geographical inclination toward the foreign and an architectural fascination with immense or castellated architecture (see
architecture, gothic
;
sublime, the
). If the village appeared at all as a feature within such works, its function was characteristically as little more than a rustic backdrop, an aspect perhaps of the picturesque or superficially beautiful strategically placed in order to better emphasize the grandeur of a presiding baronial edifice. If not this, its presence may perhaps have been justified for comedic effect, the rural settlement traditionally being populated by superstitious peasants, locked in too literal an appreciation of a folkloric past, or else spectacularly distinguished by their idiocy as well as their credulity.
W
elsh
G
othic
Authors: Aaron Jane
Published: June 2017

According to the testimony of earlier literary historians of the Gothic genre, no such thing as Welsh Gothic exists; previous encyclopedias of the genre include no reference to Wales, apart from the
Handbook to Gothic Literature
which lists “Welsh Gothic” only to state that Wales has in fact contributed virtually nothing to the wealth of world literature in the Gothic genre. With the sole exception of the Caerleonborn “master of the macabre” Arthur Machen, no writers, the
Handbook
insists, have concerned themselves with the task of reworking in literature the extensive Welsh “store of weird and darkly inventive folklore” or of developing a Welsh perspective on the uncanny (Eirian 1998: 324). Yet in fact a trawl of Welsh and Wales‐related literature dating from the birth of the genre to the present day will, with relative ease, disclose a substantial body of material which Gothicizes aspects of Welsh history, scenery and folklore, and develops a specifically Welsh version of the uncanny (see
uncanny, the
).
Wilkinson,Sarah
Authors: Potter Franz J.
Published: June 2017

Like many of her contemporaries, the Gothic novelist, chapbook‐writer, and hack Sarah Wilkinson (1779–1831) “lived by the pen.” Today Wilkinson is nearly forgotten, a minor author whose disreputable bluebooks (seebluebooks) and chapbooks are the centerpiece of nineteenth‐century literary rubbish. However, her vast output of varied fiction – some twenty‐nine volumes and above a hundred small publications – illustrates the demanding conditions that authors, who produced fiction as part of a profitable industry, endured.
Witchcraft
Authors: Freeman Nick
Published: June 2017

Gothic texts tend to make a somewhat blunt distinction between witchcraft, which they typically associate with women and the worship of either Satan or non‐Christian deities or nature spirits, and “black magic” in which the (usually male) magician uses a variety of ritual practices to bend the world to his will (or request Satan's help in so doing). Perhaps surprisingly, although witchcraft features heavily in early modern writing (not least because it was then considered a very real part of everyday life), folktales, children's literature, and various genres of fantasy (notably the parodic works of Terry Pratchett, featuring witches such as Granny Weatherwax and her friend, Nanny Ogg), it has generally been a less significant presence in Gothic than magic. Witchcraft has formed the basis of drama (
Macbeth
is the most famous example), historical novels, and stories (such as Nathaniel Hawthorne's 1835 “Young Goodman Brown” and Harrison Ainsworth's 1848
The Lancashire Witches
), and has also been deployed as a supernatural element in otherwise non‐Gothic works such as Thomas Hardy's
The Return of the Native
(1878), but in many respects, witchcraft has loomed larger in Gothic film and television than in literature.
Vocabulary Levels Test
Authors: Kremmel Benjamin , Schmitt Norbert
Published: June 2017

This entry discusses the Vocabulary Levels Test (VLT), a tool to measure the written receptive vocabulary knowledge of learners of English. It presents its design, reports on key validation studies and outlines its pedagogical use as a diagnostic instrument for a basic aspect of learners' lexical abilities that enables reading and other language‐related tasks.
Teaching Location in Time and Other Metaphorical Senses
Authors: Liu Dilin , Lei Lei
Published: June 2017

Location is a spatial concept. However, it is frequently used in non‐physical spatial senses such as time thanks to our conceptualizations of many abstract things including time in spatial terms via metaphorical processes (e.g.,at12 o'clock/onMondayandin/out of condition/danger). Because such figurative uses of location are extensive across many contexts/ domains, they are both important and challenging for ESL/EFL students to learn. Research has shown that we can enhance our teaching of figurative uses of location by highlighting the embodied conceptual motivations behind them and the role that the speaker/writer's construal or conceptualization plays in the expressions of location. Examples of research‐inspired teaching practices are given.
Ricinosomes and Aleurain‐Containing Vacuoles (ACVs): Protease‐Storing Organelles
Authors: Gietl Christine , Schmid Markus , Simpson David
Published: June 2017

The sections in this article are

Introduction

Ricinosomes

Aleurain Containing Vacuoles
Proteinase Inhibitors
Authors: Laing William , McManus Michael T.
Published: June 2017

The sections in this article are

Introduction

The Functions ofPIs

The Classification ofPIs

Classes of Serine Inhibitors from Plants

Classes of CysteinePIs

Proteinaceous Inhibitors of Metalloproteinases

Proteinaceous Inhibitors of the Aspartic Proteinases

Concluding Remarks
Cytoplasmatic Protein Kinases in Signal Transduction
Authors: Jonak Claudia , Hirt Heribert
Published: June 2017

The sections in this article are

Introduction

Mitogen‐Activated Protein Kinases

Cyclin‐Dependent Protein Kinases: The Central Regulators of Cell Division

Conclusions

Acknowledgments
Calmodulin
Authors: Buaboocha Teerapong , Zielinski Raymond E.
Published: June 2017

The sections in this article are

Introduction

Calmodulin Sequences and Structures

Structures ofCa2+/CaM–Target Peptide Complexes

Prospects for Monitoring Calmodulin Functionin vivo
An Efficient, “Burn in” Free Organic Solar Cell Employing a Nonfullerene Electron Acceptor
Authors: Cha Hyojung , Wu Jiaying , Wadsworth Andrew , Nagitta Jade , Limbu Saurav , Pont Sebastian , Li Zhe , Searle Justin , Wyatt Mark F. , Baran Derya , Kim Ji‐Seon , McCulloch Iain , Durrant James R.
Published: June 2017

A comparison of the efficiency, stability, and photophysics of organic solar cells employing poly[(5,6‐difluoro‐2,1,3‐benzothiadiazol‐4,7‐diyl)‐alt‐(3,3′″‐di(2‐octyldodecyl)‐2,2′;5′,2″;5″,2′″‐quaterthiophen‐5,5′″‐diyl)] (PffBT4T‐2OD) as a donor polymer blended with either the nonfullerene acceptor EH‐IDTBR or the fullerene derivative, [6,6]‐phenyl C71 butyric acid methyl ester (PC71BM) as electron acceptors is reported. Inverted PffBT4T‐2OD:EH‐IDTBR blend solar cell fabricated without any processing additive achieves power conversion efficiencies (PCEs) of 9.5 ± 0.2%. The devices exhibit a high open circuit voltage of 1.08 ± 0.01 V, attributed to the high lowest unoccupied molecular orbital (LUMO) level of EH‐IDTBR. Photoluminescence quenching and transient absorption data are employed to elucidate the ultrafast kinetics and efficiencies of charge separation in both blends, with PffBT4T‐2OD exciton diffusion kinetics within polymer domains, and geminate recombination losses following exciton separation being identified as key factors determining the efficiency of photocurrent generation. Remarkably, while encapsulated PffBT4T‐2OD:PC71BM solar cells show significant efficiency loss under simulated solar irradiation (“burn in” degradation) due to the trap‐assisted recombination through increased photoinduced trap states, PffBT4T‐2OD:EH‐IDTBR solar cell shows negligible burn in efficiency loss. Furthermore, PffBT4T‐2OD:EH‐IDTBR solar cells are found to be substantially more stable under 85 °C thermal stress than PffBT4T‐2OD:PC71BM devices.
In Situ Capture of Bacterial Toxins for Antivirulence Vaccination
Authors: Wei Xiaoli , Gao Jie , Wang Fei , Ying Man , Angsantikul Pavimol , Kroll Ashley V. , Zhou Jiarong , Gao Weiwei , Lu Weiyue , Fang Ronnie H. , Zhang Liangfang
Published: June 2017

Antivirulence vaccination is a promising strategy for addressing bacterial infection that focuses on removing the harmful toxins produced by bacteria. However, a major challenge for creating vaccines against biological toxins is that the vaccine potency is often limited by lack of antigenic breadth, as most formulations have focused on single antigens, while most bacteria secrete a plethora of toxins. Here, a facile approach for generating multiantigenic nanotoxoids for use as vaccines against pathogenic bacteria by leveraging the natural affinity of virulence factors for cellular membranes is reported. Specifically, multiple virulent toxins from bacterial protein secretions are concurrently and naturally entrapped using a membrane‐coated nanosponge construct. The resulting multivalent nanotoxoids are capable of delivering virulence factors together, are safe both in vitro and in vivo, and can elicit functional immunity capable of combating live bacterial infections in a mouse model. Despite containing the same bacterial antigens, the reported nanotoxoid formulation consistently outperforms a denatured protein preparation in all of the metrics studied, which underscores the utility of biomimetic nanoparticle‐based neutralization and delivery. Overall this strategy helps to address major hurdles in the design of antivirulence vaccines, enabling increased antigenic breadth while maintaining safety.
Capturing the Sun: A Review of the Challenges and Perspectives of Perovskite Solar Cells
Authors: Petrus Michiel L. , Schlipf Johannes , Li Cheng , Gujar Tanaji P. , Giesbrecht Nadja , Müller‐Buschbaum Peter , Thelakkat Mukundan , Bein Thomas , Hüttner Sven , Docampo Pablo
Published: June 2017

Hybrid metal halide perovskites have become one of the hottest topics in optoelectronic materials research in recent years. Not only have they surpassed everyone's expectations and achieved similar performance as tried and true polycrystalline silicon photovoltaic devices, but they are also finding applications in a variety of different fields, including lighting. The main advantages of hybrid metal halide perovskites are simple processability, compatible with large‐scale solution processing such as roll‐to‐roll printing, and abundance of ingredients, all coupled to materials properties reminiscent of GaAs. On the road to this remarkable success, a series of challenges have been overcome, while some still remain. In this review, some of these challenges and possible solutions are described. In particular, understanding of the perovskite crystallization process and how this knowledge can be harnessed to enable better performing devices, how to overcome reproducibility issues and mitigate hysteresis, and the long‐term prospects of the technology in terms of stability and sustainability will all be discussed.
Photoactive and Conducting Covalent Organic Frameworks
Authors: Medina Dana D. , Sick Torben , Bein Thomas
Published: June 2017

Hierarchical functional materials with properties encoded for a defined functionality such as light‐induced charge separation are highly desirable targets of numerous synthetic efforts. In the field of reticular chemistry, 2D covalent organic frameworks are an emerging class of porous and crystalline materials obtained by bottom‐up condensation of molecular building blocks assisted by non‐bonding interactions. In this research news article, an overview is provided on newly emerging photoactive and conducting 2D covalent organic frameworks, sketching the creative trajectory from subunit design strategies to framework construction and resulting functionalities.
Assessment of acquired mucociliary clearance defects using micro‐optical coherence tomography
Authors: Tipirneni Kiranya E. , Grayson Jessica W. , Zhang Shaoyan , Cho Do‐Yeon , Skinner Daniel F. , Lim Dong‐Jin , Mackey Calvin , Tearney Guillermo J. , Rowe Steven M. , Woodworth Bradford A.
Published: June 2017

Background

Dehydration of airway surface liquid (ASL) disrupts normal mucociliary clearance (MCC) in sinonasal epithelium, which may lead to chronic rhinosinusitis (CRS). Abnormal chloride (Cl−) transport is one such mechanism that contributes to this disorder and can be acquired secondary to environmental perturbations, such as hypoxia at the tissue surface. The objective of this study was to assess the technological feasibility of the novel micro‐optical coherence tomography (μOCT) imaging technique for investigating acquired MCC defects in cultured human sinonasal epithelial (HSNE) cells.

Methods

Primary HSNE cell cultures were subjected to a 1% oxygen environment for 12 hours to induce acquired cystic fibrosis transmembrane conductance regulator (CFTR) dysfunction. Ion transport characteristics were assessed with pharmacologic manipulation in Ussing chambers. ASL, periciliary fluid (PCL), and ciliary beat frequency (CBF) were evaluated using μOCT.

Results

Amiloride‐sensitive transport (ΔISC) was greater in cultures exposed to hypoxia (hypoxia: −13.2 ± 0.6 μA/cm2; control: −6.5 ± 0.1 μA/cm2; p < 0.01), whereas CFTR‐mediated anion transport was significantly diminished (hypoxia: 28.6 ± 0.3 μA/cm2; control: 36.2 ± 1.6 μA/cm2; p < 0.01), consistent with acquired CFTR dysfunction and sodium hyperabsorption. Hypoxia diminished all markers of airway surface function microanatomy as observed with μOCT, including ASL (hypoxia: 5.0 ± 0.4 μm; control: 9.0 ± 0.9 μm; p < 0.01) and PCL depth (hypoxia: 2.5 ± 0.1 μm; control: 4.8 ± 0.3 μm; p < 0.01), and CBF (hypoxia: 8.7 ± 0.3 Hz; control: 10.2 ± 0.3 Hz; p < 0.01).

Conclusion

Hypoxia‐induced defects in epithelial anion transport in HSNE led to predictable effects on markers of MCC measured with novel μOCT imaging. This imaging method represents a technological leap forward and is feasible for assessing acquired defects impacting the airway surface.
Microfluidic Formation of Monodisperse Coacervate Organelles in Liposomes
Authors: Deng Nan‐Nan , Huck Wilhelm T. S.
Published: June 2017

Coacervates have been widely studied as model compartments in protocell research. Complex coacervates composed of disordered proteins and RNA have also been shown to play an important role in cellular processes. Herein, we report on a microfluidic strategy for constructing monodisperse coacervate droplets encapsulated within uniform unilamellar liposomes. These structures represent a bottom‐up approach to hierarchically structured protocells, as demonstrated by storage and release of DNA from the encapsulated coacervates as well as localized transcription.
CO2‐Sourced α‐Alkylidene Cyclic Carbonates: A Step Forward in the Quest for Functional Regioregular Poly(urethane)s and Poly(carbonate)s
Authors: Gennen Sandro , Grignard Bruno , Tassaing Thierry , Jérôme Christine , Detrembleur Christophe
Published: June 2017

Described is a robust platform for the synthesis of a large diversity of novel functional CO2‐sourced polymers by exploiting the regiocontrolled ring‐opening of α‐alkylidene carbonates by various nucleophiles. The reactivity of α‐alkylidene carbonates is dictated by the exocyclic olefinic group. The polyaddition of CO2‐sourced bis(α‐alkylidene carbonate)s (bis‐αCCs) with primary and secondary diamines provides novel regioregular functional poly(urethane)s. The reactivity of bis‐αCCs is also exploited for producing new poly(β‐oxo‐carbonate)s by organocatalyzed polyaddition with a diol. This synthesis platform provides new functional variants of world‐class leading polymer families (polyurethanes, polycarbonates) and valorizes CO2 as a chemical feedstock.
A Convergent Synthesis of Functionalized Alkenyl Halides through Cobalt(III)‐Catalyzed Three‐Component C−H Bond Addition
Authors: Boerth Jeffrey A. , Ellman Jonathan A.
Published: June 2017

A CoIII‐catalyzed three‐component coupling of C(sp2)−H bonds, alkynes, and halogenating agents to give alkenyl halides is reported. This transformation proceeds with high regio‐ and diastereoselectivity, and is effective for a broad range of aryl and alkyl terminal alkynes. Diverse C−H bond partners also exhibit good reactivity for a range of heteroaryl and aryl systems as well as synthetically useful secondary and tertiary amide, urea, and pyrazole directing groups. This multicomponent transformation is also compatible with allenes in place of alkynes to furnish tetrasubstituted alkenyl halides, showcasing the first halo‐arylation of allenes.