Gothic critics COPY

Question 1

“house of degradation,

Answer 1

even of decomposition.” (Baldick)

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

“Duplicity is an essential part

Answer 3

of existence in late-Victorian society” (Mighall)

Question 4

“render woman as automata,

Answer 4

puppets and femmes fatale.” (Wisker)

Question 5

Staking etc. “obsessive sadistic substitutes

Answer 5

for sexual gratification” (Hindle)

Question 6

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

Answer 6

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

Question 7

Pain and terror are “capable

Answer 7

of producing delight” (Burke)

Question 8

Carter challenges male authorship of horror, and seeks

Answer 8

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

Question 9

Gothic revival time of “deep and

Answer 9

sustained religious revival” (Luckhurst)

Question 10

“threatening, sexually rapacious

Answer 10

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

Question 11

“The gothic tradition… grandly ignores

Answer 11

the value systems of our institutions” (Carter)

Question 12

In Carter’s tales “it is women who become

Answer 12

active and saviours, not the men” (Makinen)

Question 13

“In much early Gothic fiction, darkness is

Answer 13

the locus of torment” (Cavallaro)

Question 14

Evidence of a “pattern of

Answer 14

suppressed guilt” (Mighall)

Question 15

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

Answer 15

“a search for faith” (Buzwell)

Question 16

The genre employs “frequent insistence

Answer 16

on horrific detail” (Stevens)

Question 17

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

Answer 17

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

Question 18

“[Urban Gothic] narratives as sprawling and labyrinthine

Answer 18

as the districts which they haunt.” (Mighall)

Question 19

“the individual’s

Answer 19

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

Question 20

“Mina is afforded far more freedoms than Lucy because

Answer 20

she does not give in to pleasure” (Polonsky)

Question 21

“the death of a beautiful woman” is

Answer 21

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

Question 22

“Lucy becomes a voluptuous,

Answer 22

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

Question 23

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

Answer 23

including “Idolatry” and “indoctrination” (Stevens)

Question 24

In Castle Dracula “the occult and rational

Answer 24

work in harmony” (Holden)

Question 25

"unconscious as a deep repository of repressed

Answer 25

memories or impulses"(Hogle)

Question 26

(Carter’s work features women) “who grab

Answer 26

their own sexuality and fight back” (Gamble)

Question 27

Gothic heroine "cowering

Answer 27

little piece of proprietary" (Moers)

Question 28

"at the heart of the Gothic text

Answer 28

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

Question 29

"scandalous challenge to socially

Answer 29

normative constructions of the individual" (Holden)

Question 30

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

Answer 30

a fight for control over women” | Wasserman

Question 31

The Gothic "mutates

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

Question 32

There is a set of dichotomies between “the institutional

Answer 32

and the profane” in Gothic novels (Green)

Question 33

Dracula = “imperial

Answer 33

Gothic” (Brantlinger)

Question 34

“mesmerism and occult largely emanate

Answer 34

from the margins of the imperial centre” (Wynne)

Question 35

“Stoker’s fiction reflects the tension between

Answer 35

science, mesmerism and the occult” (Wynne)

Question 36

Carter had an "intensely

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visual imagination" (Simpson)

Question 37

“Strangeness lies within

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as much as without” (Botting)

Question 38

“an often subversive

Answer 38

reworking of the Romantic aesthetic" (Chaplin)

Question 39

The Gothic developed as an “intersection of religious belief,

Answer 39

aesthetic taste and political inclination” (Botting)

Question 40

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

Answer 40

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

Question 41

“it is more the emotional crisis of the protagonist

Answer 41

that generates narrative momentum” (Chaplin)

Question 42

Beauty is “ the virginal

Answer 42

object of barter” (Byrant)

Question 43

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

Answer 43

an agent of his destruction” (Kuzmanovic)

Question 44

”pleasure belongs to the eater,

Answer 44

not the eaten.” (Atwood)

Question 45

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

Answer 45

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

Question 46

Girl in the werewolf “less concerned with sexuality

Answer 46

than with survival” (Simpson)

Question 47

“The gothic put many of its participants back

Answer 47

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

Question 48

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

Answer 48

...and authenticity” (Mighall)

Question 49

“the Victorians entertained an increasing fear

Answer 49

of reversed imperialism” (Bartel)

Question 50

Dracula is a “ powerful authority figure

Answer 50

who has few restraints” (Holte)

Question 51

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

Answer 51

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

Question 52

"embrace the practices

Answer 52

usually termed occult” (Bloom)

Question 53

“Terror was akin to the sense of wonderment

Answer 53

and awe accompanying religious experience.” (Botting)

Question 54

"there exists a Dracula

Answer 54

within us all" (Carter)

Question 55

“elevates superstition

Answer 55

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

Question 56

Dracula titillates readers with “fears of the repressed

Answer 56

and the occult” (Jann)

Question 57

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

Answer 57

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

Question 58

Horror "eschewed the subtleties of the technique of terror,

Answer 58

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