Gothic critics

Question 1

“Lucy becomes a voluptuous,

Answer 1

unnatural parody of the New Woman as sexual decadent” (Buzwell)

Question 2

(argues that Stoker is a feminist as) “The novel (Dracula) falls clearly into two parts,

Answer 2

each half centered around a different kind of woman.” (Demetrakopolous)

Question 3

“The fight to destroy Dracula and restore Mina to her purity is

Answer 3

a fight for control over women”

Wasserman

Question 4

(Carter’s work features women) “who grab

Answer 4

their own sexuality and fight back” (Gamble)

Question 5

(Harker is the only character who is) “an object of the vampire’s seduction and

Answer 5

an agent of his destruction” (Kuzmanovic)

Question 6

Dracula is a “ powerful authority figure

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who has few restraints” (Holte)

Question 7

“Mina is afforded far more freedoms than Lucy because

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she does not give in to pleasure” (Polonsky)

Question 8

Staking etc. “obsessive sadistic substitutes

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for sexual gratification” (Hindle)

Question 9

“In many Gothic novels the castle represents a threatening,

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sexually rapacious masculine world in which women are trapped and persecuted.” (Bunten)

Question 10

Gothic heroine”a whimpering, trembling, cowering

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little piece of proprietary” (Moers)

Question 11

Beauty is “ the virginal

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object of barter” (Byrant)

Question 12

“render woman as automata,

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puppets and femmes fatale.” (Wisker)

Question 13

”pleasure belongs to the eater,

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not the eaten.” (Atwood)

Question 14

“The heroines of these stories are struggling out of the straightjackets

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of history and ideology and biological essentialism.” (Simpson)

Question 15

In Carter’s tales “it is women who become

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active and saviours, not the men” (Makinen)

Question 16

Girl in the werewolf “less concerned with sexuality

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than with survival” (Simpson)

Question 17

Harker’s wielding of the kukri is a “symbolic castration

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of his enemy to regain his lost virility” (Frost)

Question 18

The “sexual implications” of Arthur’s murder of Lucy are

Answer 18

“embarrassingly clear”, even “gang rape” (Showalter)

Question 19

“the death of a beautiful woman” is

Answer 19

the “most poetical topic in the world” (Poe)

Question 20

Dracula “anxiously defends the social, political and sexual ideas of

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conservative, middle-class, masculinist ideology” (Mohr)

Question 21

There is a set of dichotomies between “the institutional

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and the profane” in Gothic novels (Green)

Question 22

Dracula titillates readers with “fears of the repressed

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and the occult” (Jann)

Question 23

Flight into occult is “a reaction to the predominance of science” representing

Answer 23

“a search for faith” (Buzwell)

Question 24

Harker’s diary is a means of “repose” against madness and the dissolution of the self

Answer 24

Attempts hermeneutics to achieve some mastery over the world (Holden)

Question 25

In Castle Dracula “the occult and rational

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work in harmony” (Holden)

Question 26

Dracula = “imperial

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Gothic” (Brantlinger)

Question 27

“the Victorians entertained an increasing fear

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of reversed imperialism” (Bartel)

Question 28

“The Gothic castle or house is not just an old and sinister building ;

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it is a house of degradation, even of decomposition.” (Baldick)

Question 29

“In much early Gothic fiction, darkness is the locus of torment,

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punishment, mystery, corruption and insanity.” (Cavallaro)

Question 30

“[Urban Gothic] narratives as sprawling and labyrinthine

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as the districts which they haunt.” (Mighall)

Question 31

"The Gothic imagination turns upon a fear of object, in particular the individual's

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anxiety of becoming subject to forces beyond its control" (March-Russell)

Question 32

“The gothic put many of its participants back

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in touch with the supernatural” , "powerful undercurrent of belief" (Stevens)

Question 33

"embrace the practices

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usually termed occult” (Bloom)

Question 34

“an infusion of the sacramental and the supernatural that elevates superstition

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over the reasoned and ordinary religious focus” upheld by most of Stoker’s characters (Newcomb)

Question 35

“Stoker’s fiction reflects the tension between

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science, mesmerism and the occult” (Wynne)

Question 36

[epistolary novels, for example] "gives it a greater sensational immediacy

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...and authenticity” (Mighall)

Question 37

“it is more the emotional crisis of the protagonist

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that generates narrative momentum” (Chaplin)

Question 38

The Enlightenment’s “scientific and technological innovation” had made it

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“comparatively ‘safe’ to indulge in irrational fantasies” | Stevens

Question 39

The gothic contains “a collection of popular prejudices’ towards Roman Catholicism,

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including “Idolatry” and “indoctrination” (Stevens)

Question 40

“mesmerism and occult largely emanate

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from the margins of the imperial centre” (Wynne)

Question 41

Gothic revival time of “deep and

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sustained religious revival” (Luckhurst)

Question 42

“an often subversive

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reworking of the Romantic aesthetic" (Chaplin)

Question 43

“Terror was akin to the sense of wonderment

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and awe accompanying religious experience.” (Botting)

Question 44

Horror "eschewed the subtleties of the technique of terror,

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preferring to revel in graphic depictions of violence” (Chaplin)

Question 45

The genre employs “frequent insistence

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on horrific detail" (Stevens)

Question 46

Carter challenges male authorship of horror, and seeks

Answer 46

to redefine the gothic genre entirely rather than simply subvert it (Jowett)

Question 47

Pain and terror are “capable

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of producing delight” (Burke)

Question 48

Evidence of a “pattern of

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suppressed guilt” (Mighall)

Question 49

“Strangeness lies within

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as much as without” (Botting)

Question 50

"unconscious as a deep repository of repressed

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memories or impulses, the archaic underworld of the self"(Hogle)

Question 51

The Gothic developed as an “intersection of religious belief,

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aesthetic taste and political inclination” (Botting)

Question 52

“Duplicity is an essential part

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of existence in late-Victorian society” (Mighall)

Question 53

“The gothic tradition… grandly ignores

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the value systems of our institutions" (Carter)

Question 54

Carter had an "intensely

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visual imagination" (Simpson)

Question 55

The Gothic "mutates

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to reflect the times in which it lives" (Buzwell)

Question 56

"there exists a Dracula

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within us all" (Carter)

Question 57

"at the heart of the Gothic text

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is the tension provided by the possible violation of innocence" (Kidd)

Question 58

"scandalous challenge to socially

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normative constructions of the individual" (Holden)