LEADER 02491nam 2200553 a 450 001 9910789885303321 005 20230725032525.0 010 $a1-299-20072-9 010 $a0-7083-2362-6 035 $a(CKB)2670000000138122 035 $a(EBL)819776 035 $a(OCoLC)768732128 035 $a(SSID)ssj0000636518 035 $a(PQKBManifestationID)12255442 035 $a(PQKBTitleCode)TC0000636518 035 $a(PQKBWorkID)10661064 035 $a(PQKB)11631179 035 $a(MiAaPQ)EBC819776 035 $a(Au-PeEL)EBL819776 035 $a(CaPaEBR)ebr10640646 035 $a(CaONFJC)MIL451322 035 $a(EXLCZ)992670000000138122 100 $a20130108d2011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aHistory of the Gothic $eTwentieth-Century Gothic /$fLucie Armitt 210 $aCardiff $cUniversity of Wales Press$d2011 215 $a1 online resource (214 p.) 225 1 $aHistory of the Gothic 300 $aDescription based upon print version of record. 311 $a0-7083-2007-4 320 $aIncludes bibliographical references and index. 327 $aSeries Editors' Foreword; Acknowledgements; Chronology; Illustrations; Introduction; Gothic Pathologies: Haunted Children; Building Suspense:Architectural Gothic; Gothic Inhumanity; Queering the Gothic; Survey of Criticism; Conclusion: Thriller and Stranger; Notes; Annotated Bibliography; Index 330 $aThis is a book looking at Gothic literature and film and its relationship to society and culture. It spans the long twentieth century from Henry James's The Turn of the Screw (1898) to Sarah Waters's The Little Stranger (2009). One of the questions it raises is why we are still fascinated by ghosts, demons and monsters, despite living in a culture in which belief in the supernatural can no longer be assumed. It includes topics such as children and our fears for them, terrorism and atrocity, sexuality and disease and the comedy of fear. 410 0$aHistory of the Gothic (Cardiff, Wales) 606 $aGothic fiction (Literary genre)$xHistory and criticism 615 0$aGothic fiction (Literary genre)$xHistory and criticism. 676 $a823.0872909 700 $aArmitt$b Lucie$f1962-$0169219 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910789885303321 996 $aHistory of the Gothic$93845732 997 $aUNINA