This new collection of essays by major scholars in the field looks at the ways in which cross-fertilization has taken place in Gothic writing from France, Germany, Britain and America over the last 200 years, and argues that Gothic writing reflects international exchanges in theme and form.

Although Gothic writing is now seen as significant for an understanding of modernity, it is still largely characterized as a literature of fear and anxiety. "Gothic and the Comic Turn" argues that, partly through its desire to be taken seriously, Gothic criticism has neglected the comic doppelganger that has always inhabited the Gothic mode and which in certain texts emerges as dominant. Tracing an historical trajectory from the late Romantic period through to the present day, this book examines how varieties of comic parody and appropriation have interrogated the complexities of modern subjectivity.

Daphne du Maurier: Writing, Identity and the Gothic Imagination is the first full-length evaluation of du Maurier's fiction and the first critical study of du Maurier as a Gothic writer. Horner and Zlosnik argue that the fears at the heart of du Maurier's Gothic fictions reflect both personal and broader cultural anxieties concerning sexual and social identity. Using the most recent work in Gothic and gender studies they enter the current debate on the nature of Female Gothic and raise questions about du Maurier's relationship to such a tradition.

This book is the first full-length evaluation of du Maurier's fiction and the first critical study of du Maurier as a Gothic writer. Using the most recent work in Gothic and gender studies, the authors enter the current debate on the nature of female Gothic and raise questions about du Maurier's relationship to such a tradition. They demonstrate that using recognizable popular forms, she was able to explore through Gothic writing the anxieties of modernity in the kind of fiction many people find accessible. This, they claim, explains the compulsive quality of her best novels and their enduring popularity.

This new collection of essays by major scholars in the field looks at the ways in which cross-fertilization has taken place in Gothic writing from France, Germany, Britain and America over the last 200 years, and argues that Gothic writing reflects international exchanges in theme and form.

Although Gothic writing is now seen as significant for an understanding of modernity, it is still largely characterized as a literature of fear and anxiety. Gothic and the Comic Turn argues that, partly through its desire to be taken seriously, Gothic criticism has neglected the comic doppelganger that has always inhabited the Gothic mode and which in certain texts emerges as dominant. Tracing an historical trajectory from the late Romantic period through to the present day, this book examines how varieties of comic parody and appropriation have interrogated the complexities of modern subjectivity.

Daphne du Maurier: Writing, Identity and the Gothic Imagination is the first full-length evaluation of du Maurier's fiction and the first critical study of du Maurier as a Gothic writer. Horner and Zlosnik argue that the fears at the heart of du Maurier's Gothic fictions reflect both personal and broader cultural anxieties concerning sexual and social identity. Using the most recent work in Gothic and gender studies they enter the current debate on the nature of Female Gothic and raise questions about du Maurier's relationship to such a tradition.