Introduction: Borderlines: Contemporary Scottish Gothic
Notes Introduction: Borderlines: Contemporary Scottish Gothic 1. Caroline McCracken-Flesher, writing shortly before the latter film’s release, argues that it is, like the former, ‘still an outsider tale’; despite the emphasis on ‘Scottishness’ within these films, they could only emerge from outside Scotland. Caroline McCracken-Flesher (2012) The Doctor Dissected: A Cultural Autopsy of the Burke and Hare Murders (Oxford: Oxford University Press), p. 20. 2. Kirsty A. MacDonald (2009) ‘Scottish Gothic: Towards a Definition’, The Bottle Imp, 6, 1–2, p. 1. 3. Andrew Payne and Mark Lewis (1989) ‘The Ghost Dance: An Interview with Jacques Derrida’, Public, 2, 60–73, p. 61. 4. Nicholas Royle (2003) The Uncanny (Manchester: Manchester University Press), p. 12. 5. Allan Massie (1992) The Hanging Tree (London: Mandarin), p. 61. 6. See Luke Gibbons (2004) Gaelic Gothic: Race, Colonization, and Irish Culture (Galway: Arlen House), p. 20. As Coral Ann Howells argues in a discussion of Radcliffe, Mrs Kelly, Horsley-Curteis, Francis Lathom, and Jane Porter, Scott’s novels ‘were enthusiastically received by a reading public who had become accustomed by a long literary tradition to associate Scotland with mystery and adventure’. Coral Ann Howells (1978) Love, Mystery, and Misery: Feeling in Gothic Fiction (London: Athlone Press), p. 19. 7. Ann Radcliffe (1995) The Castles of Athlin and Dunbayne, ed. Alison Milbank (Oxford: Oxford University Press), p. 3. 8. As James Watt notes, however, Castles of Athlin and Dunbayne remains a ‘derivative and virtually unnoticed experiment’, heavily indebted to Clara Reeves’s The Old English Baron. James Watt (1999) Contesting the Gothic: Fiction, Genre and Cultural Conflict, 1764–1832 (Cambridge: Cambridge University Press), p.
[Show full text]