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Notes

Introduction

1. S –– (1890), 2. Quoted from Connor (1998), 12. 2. This is confirmed by the recent proliferation of popular manuals on the art of fascination, for example Hogshead (2010). 3. Mitchell (2005), 36. 4. See Albrecht (2009), Werckmeister (2005), McCance (2004). 5. See Baumbach et al. (2012), Neumann and Nünning (2012). 6. Yeats, ‘The Fascination of What’s Difficult’ (1912). 7. See Pearson (1999), Littau (2006). 8. Taylor (1990), 27 and 29. 9. See esp. Hahnemann and Weyand (2009a) and Seeber (2010a, 2012). 10. Bredekamp (2010).

1 Literature and Fascination

1. This distinction has already been suggested by Seeber (2012), 12. 2. Blanchot (1982), 32. 3. See Hahnemann and Weyand (2009b), 30. 4. See esp. Hogan (2003), Herman (2011, 2003), Stockwell (2002) and Palmer (2004). 5. See Lakoff and Johnson (1999). 6. Gumbrecht (2008b), 215–16. 7. See Holtz (1984) or Moore and Larkin (2006). 8. Hahnemann and Weyand (2009a). 9. See Degen (2009), Hippe (2009), Seeber (2009). 10. Seeber (2010a), also (2012, 2010b, 2009, 2007, 2004). 11. Bredekamp (2010). 12. See Elkins (1998), Lacan (1977), 65–119. 13. See Chapter 1 ‘Of magic, love and envy’. 14. See Chapters 3 ‘The fascination with representation’ and 6 ‘The fascination with terror’ respectively. 15. See Lurie (2006), Harris (2007). 16. See Elleström (2010). 17. See Kress and Van Leuven (1996), Mitchell (2005). 18. See Hjort and Laver (1997). 19. See Arm strong (2001), Cohn (2008), van Alphen (2005) and Funch (1997). 20. See Bogh et al. (2010), Gumbrecht and Marrinan (2003). 21. Gell (1998), esp. 12–27, also Freedberg (1989), Osborne and Tanner (2007). 22. See Kosslyn (2006), Esrock (1994), Findlay (2003), Benson (1993). 23. See Burggraeve et al. (2003). 24. See Weber (1968), also Jaeger (2012). 25. Lyotard (1984), 21; also Gomart and Hennion (1999). 26. See Burns (2009). 27. See Naremore and Brantlinger (1991).

255 256 Notes to Chapter 1

28. See Žižek (1992). 29. See Linfield (2010), Birkenstein et al. (2010), Monahan (2010), and Goldstein (1998). 30. See Costello and Willsdon (2008), Glowacka and Boos (2002) and Hughes (2010). 31. See Landy and Saler (2009), During (2002). 32. See Feagin (1992), Silvia and Brown (2007). 33. See Alt (2010), Eagleton (2010). 34. See Todorov (1975), von Mücke (2003). 35. See Häring and Tracy (1998). 36. See Jaeger (2012), also Hoffmann and Whyte (2011), Morley (2010), Shaw (2006), Kirwan (2005). 37. See Seeber (2007). 38. See Arnheim (2004), Higgins (2002) and Eco (2007). 39. See Burggraeve et al. (2003). 40. See Carroll (1990), Heller (1987). 41. See Borgmeier and Wenzel (2001), Vorderer et al. (1996) and Bloom et al. (1988). 42. See Moretti (1983), 83–108. 43. See esp. Willis and Wynne (2006), DeLong (2012), Winter (1998), Kaplan (1975) and Tatar (1978). 44. See Gilmore (2004). 45. Rudy (2009). 46. See esp. Mildorf et al. (2006), Schenkel and Welz (1999), Thurschwell (2001). 47. See Sher (2004), Rouget (1985). 48. See Gaderer (2007). 49. See Grabes (1982), Mundkur (1983), also Hollander (1995) and Seppänen (2006). 50. See Hanson and O’Rawe (2010), Rummel (2008), Binias (2007), Menon (2006), Stott (1992), Hallissy (1987), Dijkstra (1986) and Auerbach (1982). 51. See Bernstock (1991), Segal (1993), Spaas (2000), Garber and Vickers (2003), Wilk (2000) and Siebers (2000). 52. See Heinrich (1995), 12–17. 53. Mitchell (1994), 78. 54. See Albrecht (2009). 55. DeLong (2012), 101. 56. See Horlacher et al. (2010). 57. See Jaeger (2012), Landy and Saler (2009), Gell (1992) and Hanegraaf (2003). 58. Dixon (1994), also Casetti (1998) and Coates (1991). 59. Carroll (1990). 60. Hills (2005). 61. See Gumbrecht (2004). 62. Pollock (1999), 17–18. 63. Blanchot (1982), 33. 64. See Gumbrecht (2011) and (2008b). 65. See Staiger (1951), 63. 66. Gumbrecht (2008b), 215–16. 67. See ibid., 216. 68. Gumbrecht (2006), 16. 69. See Wellbery (2003). 70. Gumbrecht (2008b), 220. 71. Ibid. 72. Gumbrecht (2011), 71. Notes to Chapter 1 257

73. Blanchot (1982), 32–3. 74. Hogan (2011), also Vermeule (2010), Zunshine (2006) and Herman (2003). 75. See Phelan (2006), Gerrig and Egidi (2003), Gerrig (1993), Nell (1988) and Oatley (2002). 76. Bortolussi and Dixon (2003), 2. 77. See Hogan (2003), esp. 140–1. 78. See Oatley (1992), 3. 79. See Chapter 1 ‘Of magic, love and envy’. 80. Emotions and affect are used synonymously in this study since the use of the term ‘emotion’ today embraces the terms ‘affect’ and ‘affective’. See Oatley (2004), 3. 81. Even though they are very much distinct from each other, fascination and fear share some common ground: they are both emotional reactions that increase our attentional focus and, as a result, frequently interlinked, as for instance by Münkler (1997). 82. Oatley (2004), 90 and 4. 83. Ibid., 4. 84. Ibid., 90. 85. See Johnson-Laird and Oatley (1989). 86. Oatley (1992), 19. 87. Connor (1998), 12. 88. Ibid. 89. Ibid., 21. 90. See Hogan (2003), 148. 91. See Carroll (1990). 92. Tan (1996), 98. 93. Hogan (2003), 149. 94. Seeber (2006), 229. 95. Hogan (2003), 152. 96. Ibid., 172. 97. Ibid., 152. Hogan, however, refers to this crash in a different context. 98. Ibid., 173. 99. Oatley (2011), 819–20. 100. See Ishizu and Zeki (2011), Zeki (2009); on attention see Posner (1990), Corbetta and Shulman (2002) and Heijden (2004). 101. Hogan (2003), 166. 102. Ibid., 167. 103. See ibid., 185. 104. Ibid., 186. 105. Ibid., 187. 106. Oatley (2004), 96. 107. Izard (1977), 85. 108. Hogan (2003), 173. 109. Ibid., 171–3. 110. See Budick and Iser (1987). 111. Arvidson (2006), 164. 112. See Levinas (1969), 213. 113. Harris (2003), 17 and 15. 114. Hogan (2003), 12. 115. See Ryan (1992, 2003), Eco (1994), 99. 258 Notes to Chapter 1

116. See Ryan (2004). 117. See Bal (1997), 64. 118. Herman (2009), also Nünning et al. (2010). 119. See Turner (1996). 120. Bender (1987), 1. 121. See Zillmann (1988). 122. Fradenburg (2002), 69. 123. See Drügh (2001). 124. Phelan (2006), 300. 125. Rosenwein (2006). 126. Carroll (1990). 127. Hogan (2003), 187. 128. Gumbrecht (2006), 151–2. 129. See Chapter 1 ‘Of magic, love and envy’. 130. Fludernik (1996), 12. 131. See Carroll (2001a), 22. 132. Seeber (2006), 230. 133. Genette (1980 [1972]), 186. 134. Bal (1997), 64. 135. Fludernik and Olson (2011), 3. See also Nünning (2005). 136. Abbas (1989), 51. 137. Nishimata (2008), 28. 138. With the exception of Felski’s definition of ‘shock’, which verges on the concept of fascination. Distinguishing it from ‘enchantment’, which she describes as the pleasurable experience of total, self-forgetting immersion in a text, Felski understands ‘shock’ as a profoundly ‘paradoxical allure’ (Felski [2008], 134). 139. See Bloom et al. (1988). 140. Elkins (1998), 48. 141. Prince (2003 [1987]), 61. 142. See Kintsch (1998). 143. See Chapter 1 ‘Fascination, myth and medusamorphoses’. 144. This investment connects to the activation of gap-filling activities, as described by Iser (1980). 145. See Chapter 4. 146. Hogan (2003), 185. 147. See Massey (2009), esp. 93–132. 148. Stevenson, ‘A Gossip on ’, 139. 149. See Seeber (2012), 114. 150. See Moog-Grünewald (2001), 2–3. 151. See , The Iliad, XVIII.462–613. 152. Ibid., XVIII.590–606. 153. See Stanley (1993), esp. 9–13. 154. See Girard (2000 [1991]), 22. 155. Benjamin (1969), 188. Insofar as aura, for Benjamin, is ‘the unique manifesta- tion of a distance’ of the art object, which ultimately remains inapproachable (ibid., 148), the concept ultimately differs from fascination, which arises from the tension between proximity and distance. They connect, however, in the context of the returned gaze. 156. For Jaeger, the reciprocal gaze is a key element of ‘charismatic painting’ (2012: 200). Notes to Chapter 1 259

157. Homer, Odyssey, XIII.1–2. 158. Nell (1988), 48. 159. Jaeger (2012), 215. 160. Ibid., 11. See Chapter 1 ‘Of magic, love and envy’. 161. Jaeger (2012), 216. 162. See ibid., 220. 163. Ibid., 223. 164. Ibid. 165. See Fournier (2005). 166. Dabney (1980), 167–8. 167. See Pearson (1999). 168. Green et al. (2002). 169. See Alcorn (1994), 12. 170. See Sarbin (1982), 176. 171. Nell (2002), 17. 172. Ibid. 173. Ibid., 17–18. 174. Nell (1988), 201. 175. See LeDoux (1996), 69. 176. Solomon (2006), 143–4. Though Solomon lists fascination among other intense emotions which exceed the control of the will, he does not further enlarge on its nature or mechanisms. 177. Felski (2008), 54. 178. See Bennett (2001). 179. Felski (2008), 54. 180. Miller (2002), 21. 181. Felski (2008), 62. 182. Oxford English Dictionary, ‘fascination’, 1–3. 183. See Valpy (1828), 148. A detailed account of the etymology of ‘fascination’ is provided in Johann Christian Frommann’s Tractatus de Fascinatione (1675). 184. Oxford English Dictionary, ‘fascination’, 1. 185. Story (2003 [1877]), 149. 186. See Hahnemann and Weyand (2009b), 30. 187. Jolly et al. (2002), 22. 188. Ibid., 13. 189. Gumbrecht (2008a), 3. 190. Ibid. 191. Luther, Table Talk no. 2982b, in: Luther’s Works, 188. See Kors and Peters (2001), 262. 192. See , Symposium, v.7, 680c. 193. For the evil eye tradition, see Siebers (2000), Rakoczy (1996), Dundes (1992 [1981]), Maloney (1976), Gifford (1958) and Elworthy (1895). 194. See Pliny, Natural History, VIII.32; 281–2. 195. See M. Baumbach (2010), Sammer (1998). 196. Spenser, Fairie Queene, IV.39. 197. Ripa, Iconologia, 47. 198. See Chapter 2 ‘The theatre of infection’. 199. Story (2003 [1877]), 155–6. 200. See Kors and Peters (2001), 176–7. 201. Kramer and Sprenger, Malleus Maleficarum, Part I, 1.2, 17. 260 Notes to Chapter 1

202. Ibid. 203. Delrio, Disquisitionum Magicarum Libri Sex, quoted from Elworthy (1895), 35–6. 204. Pliny, Natural History, VII.2; 127. 205. Scot, The Discoverie of Witchcraft, 408–9. 206. See Chapter 2 ‘Fascination and meta-poiesis’. 207. Kramer and Sprenger, Malleus Maleficarum, Part I, 1.2, 17. 208. Bacon, Sylva Sylvarum, 129. 209. See Lindberg (1981), 91–2. 210. See Connor (1998), 9. 211. See Tomkins (1963), 160. 212. Agrippa, Occult Philosophy, 150. 213. See Lindberg (1981), 91–2. 214. See Weststeijn (2010). 215. Porta, Natural Magick, 230. 216. Ibid. The basilisk was also frequently associated with envy or morbus invidiae (see Sammer [1998], 49–54). 217. Bacon, Sylva Sylvarum, 129. 218. Scaliger, Propert, I.1; quoted from Burton, Anatomy of Melancholy, 467. 219. Bacon, Sylva Sylvarum, 129. 220. Ficino, De Amore, VII.4. 221. Wells (2007). 222. Porta, Natural Magick, 232. 223. See Frelick (2005), 51. 224. See Ficino, De Amore, VII.7. 225. Ibid., VII.11. 226. Burton, Anatomy of Melancholy, 465. 227. Ibid., 468. 228. Ibid., 465. 229. See Yatromanolakis (1988). 230. Porta, Natural Magick, 231. 231. Raleigh, The History of the World, 209. 232. Bacon, Of Envy, 75. 233. See Plutarch, Symposium, V.7. 234. Virgil, Eclogues, 3.103. 235. See Dickie (1991). 236. Porta, Natural Magick, 232. 237. Ibid. 238. See Zambelli (2007), 39. 239. See Thorndike (1958), 213; Knight (1854), 45. Further remedies to fascination also include spittle, see Brand (1905), 560. 240. Bacon, Opus Majus, 164. 241. Porta, Natural Magick, 232. 242. Lacan (1977), 118. 243. Smith (1865), 521. 244. See Plutarch, Symposium, V.2; Pliny, Natural History, XIX.19; Varro, Ling, VII.97; see Bartsch (2006), 144. 245. See Smith (1865), 521. 246. See Di Stasi (1981), 43–4. 247. Fracastoro, On Sympathy and Antipathy (1546), I.23. 248. See Thorndike (1958), 608; also Aquinas, Contra Gentiles, III.103. Notes to Chapter 1 261

249. Scot, Discoverie of Witchcraft, 227. 250. Ibid. 251. Ibid. 252. Ibid. 253. See Porta, Natural Magick, 230. 254. Scot, Discoverie, 227. 255. See Levack (2006 [1987]), 262. 256. Scot, Discoverie, 227. 257. Agrippa, Female Pre-Eminence, 30. 258. Porta, Natural Magick, 230. 259. See ibid. 260. Ibid., 231. 261. Kramer and Sprenger, Malleus Maleficarum, Part I, 1.6, 47. 262. Ibid. 263. Ibid. Part II, 1.2, 99. 264. See Chapter 3 ‘The (non-)encounter with Medusa’. Johannes Scotus, for instance, rejects the figure of the serpent as a mythical invention and locates it inside human nature, that is, within Eve, who must take full responsibility for the sin. See Scotus, Periphyseon, IV.23. 265. Scot, Discoverie, 207. 266. See Johnson (1837), 200–1, also Newman (1847), 14–16. 267. See Mundkur (1983). 268. Nissenson and Jones (1995), 15. 269. See Johnson (1988), esp. 121–92; and Menon (2006), 227–73. 270. Lodge, A Treatise of the Plague (1603), B3v. 271. Oxford English Dictionary, ‘touch’, n. 13b. See Healy (2003). 272. Scot, Discoverie of Witchcraft, 227. 273. Beecher (2005). 274. Bacon, Sylva Sylvarum, 129. See Crooke, Microcosmographia, 60. 275. See Story (2003 [1877]), 169–70. 276. Porta, Natural Magick, 130. 277. Story (2003 [1877]), 157. 278. See Thorndike (1923), 169. 279. See Jolly et al. (2002), 38. 280. Ibid. For the connection of language and magic, see Stockhammer (2000), esp. 21–34, and Ernst (1995). 281. Malinowski (1984), 52. See Gregory (1952), 143. 282. Bacon, Of Envy, 79. 283. Ibid. 284. See Ficino, De Amore, VII.9–11. 285. See Frelick (2005), 51–2. 286. Spence (2006), 156. Spence refers to Lucretius’ De rerum natura in this context even though Lucretius does not use the term ‘fascination’. 287. For the connection between fascination and suggestion, see Gregory (1952). 288. Björnström (1889), 41. See Winbigler (1909). 289. Thorndike (1958), 665. 290. See Avicenna, Liber de Anima, IV.4. 291. Montaigne, Essays, 44. 292. See Zambelli (2007), 71. 293. See Stefaniak (2008), 87. 262 Notes to Chapter 1

294. Schott (2002), 136. 295. Porta, Natural Magick, 1. 296. Ibid., 51. 297. Ibid., also Agrippa, Occult Philosophy, 198. 298. Porta, Natural Magick, 54. 299. Bacon, Sylva Sylvarum, 131. 300. Ibid. 301. See Thorndike (1958), 82. 302. Bacon, The Advancement of Learning, 206. 303. Bacon, Sylva Sylvarum, 131. 304. Bacon, Advancement of Learning, 199. 305. Ibid., 188. 306. See Frazer (1994), esp. 46–59. 307. Stefaniak (2008), 86–7, referring to Stefaniak (1993), 237, n. 68. 308. See Waldenfels (2004), 228. 309. Cusa, De Visione Dei, chapter 4, sect. 12, ll. 16–19. See Jaeger (2012), 201. 310. Jaeger (2012), 200. 311. See Cusa, De Visione Dei, chapter 4, sect. 12, l. 12. 312. See Jaeger (2012), 201–2. 313. Donne, Sermon No. 9, 202. 314. Otto (1936), 31. 315. Ibid., 25. 316. See Grieser (2009). 317. DuBose (2010), 926. 318. See Heinrich (1995), 14 and 340. 319. See Thomas (1971). 320. See Jolly (2002), 10. 321. Ankarloo and Clark (2002), xi. 322. Ibid., xi. 323. Ibid., xii. 324. Zambelli (2007), 8. 325. Shumaker (1972), 108. 326. See Jolly (2002), 9–10. 327. Thorndike (1958), 574–5. 328. Porta, Natural Magick, 12. 329. Bruno, Cause, Principle and Unity, 165. 330. Agrippa, Occult Philosophy, 150. 331. Bruno, Cause, Principle and Unity, 172. 332. Ibid., 105. 333. Glanvill, Sadducismus Triumphatus, 14. 334. Porta, Natural Magick, 19. 335. Ibid., 192. 336. See Verschuur (1993), 12. 337. As recorded by Galen of in his treatise De Simplicium Medicamentorum Facultatibus. 338. Bell (1838), 22. 339. Ibid., 28. 340. Ibid., 29. 341. Tatar (1978), 5. 342. Mesmer, Mémoire, 74–5. 343. Montaigne, Essays, 40. Notes to Chapter 1 263

344. See Bell (1838), 23–4; Kurshan (2006). 345. See Rodgers (1849), 52. 346. Bell (1838), 23–4. 347. See Rodgers (1849), 43–4. 348. Newman, Fascination, 162. 349. See Willis and Wynne (2006), 9. 350. Bell (1838), 23. 351. Rodgers (1849), 25. 352. See Simon (2004), esp. 18–20. 353. See Gauld (1992), 618. 354. Winbigler (1909), 374. 355. Braid (2008 [1855]), 80. 356. Ibid. 357. Freud (1922), 34. 358. Ibid., 7. 359. Braidotti (1997), 66. 360. Freud (1997), 265. 361. Owens (1994), 211. 362. Lacan (1977), 116–17. 363. Owens (1994), 211. 364. See Sloterdijk (1998), 257–8. 365. Ibid., 261. 366. Elworthy (1895), 2. 367. Geertz (1983), 13. 368. Weber (1997 [1947]), 358. 369. Jaeger (2012), 14–15. 370. See Geertz (1983), 122–4. 371. Shaftesbury, Instantaneous Personal Magnetism, 91. 372. See Herbst (2009). 373. Rieff (2007), 138. 374. Lewis (1980 [1954]), 8. 375. See Gillespie and Warren (2011) and Bacon (2011). 376. Hogshead (2010). 377. Hakim (2010). 378. Simmel (1950), 332. 379. Simmel (1906), 461. 380. Schmid (2009), 25. 381. Schmid et al. (2011), 2. 382. See ibid., 4. 383. Landy and Saler (2009). 384. See Gombrich (1979), 251–77. 385. Mitchell (1994), 78. 386. See Werckmeister (2005). 387. Schmid et al. (2011), 4. 388. As claimed by Connor (1998). For the positive connotation of ‘epidemic’ in the twenty-first century, see Schaub and Suthor (2005), 10–11. 389. See Connor (1998), 12. 390. Oxford English Dictionary, ‘taboo’, A.a.; see also Webster (1973), 3. 391. Frazer (1994), 682. 392. See Helmers (1989), 26. 393. See Chapter 6 ‘The Medusa effect’ and ‘The fascination with terror’. 264 Notes to Chapter 1

394. Blanchot (1982), 32. 395. See Denzin (1995). 396. Wilde, The Critic as Artist, 405. 397. See Most (1999), Lévi-Strauss (1961), Wood (2005). 398. For the literary and cultural tradition of these figures, see Bernstock (1991), Spaas (2000), and Garber and Vickers (2003) respectively. 399. Blanchot (1981), 101. 400. See Apollonius, Argonautica, 4.905. 401. See Ovid, Metamorphoses, XI.21. 402. See ibid., X.42: stupuitque Ixionis orbis. 403. See ibid., X.56–7 and X.65. 404. Rimelli (2006), 117. 405. Ovid, Metamorphoses, III.4. 406. See Story (2003 [1877]), 161. 407. See Siebers (2000). 408. , Pyth., X.48. 409. See Taylor (2008), 171. 410. See ibid. 411. See , Theogony, 278. 412. See Plinius, Historia Naturalis, 37.164; also Simmons (2009), 343–63. 413. Ovid, Metamorphoses, IV.801: attonitos […] hostes. 414. See S. Baumbach (2010). 415. Johnson (1837), 196. 416. Freccero (1986), 125. 417. Weiss (1986), 91. 418. Ovid, Metamorphoses, IV.963–79. 419. Ibid., IV.795–6. 420. Medusa is referred to as vipereum monstrum (see IV.614), crinita draconibus ora (IV.770) and Gorgonis anguicomae (IV.698). 421. Taylor (2008), 190–2. 422. Blumenberg (1985), 15. 423. See Marin (1995), 126–44. 424. See Theocritus, Idyll, VI.39. 425. Taylor (2008), 172–92. 426. See Baxandall (1988 [1972]), 29–108. 427. Enterline (2000), 79. 428. Ovid, Metamorphoses, IV.615, see V.216. 429. Enterline (2000), 82. 430. Cixous (1976), 875–93. 431. See Taylor (2008), 178. 432. Garber (1987), 103. 433. Taylor (2008), 173. 434. Bredekamp (2010). 435. See Elkins (1998). 436. Bergman-Carton (1995), 12. 437. See Blumenberg (1985). 438. See Hertz (1985); also Thomas (2008), 152–76. 439. See Heinrich (1995), 7. 440. See Chapter 4 ‘Fascinating gazes, mesmeric energies and luring vampires’. 441. Landy and Saler (2009). Notes to Chapter 2 265

2 The Power of Magic and the Fear of Contamination: Fascination in Early (Modern) Literature

1. Dante, Inferno, IX.1–3. 2. See Virgil, Aeneid, VI. 3. See Genesis 19.26. 4. See Rimelli (2006), 117. 5. Dante, Inferno, IX.34–42. 6. See Mansfield (1979), 143–4. 7. Ibid., 148. 8. Dante, Inferno, IX.49–60. 9. See Homer, Odyssey, XI.633–5. 10. See Virgil, Aeneid, VI.284–9. 11. Dante, Inferno, IX.61–3. 12. Mansfield (1979), 152. 13. Freccero (1986), 121. 14. Ibid. 15. Ibid., 122. 16. Ibid. 17. Ibid., 119. 18. See ibid., 126. 19. Ibid., 128. 20. Catullus, 39. 21. Bertman (1978), 478. 22. Virgil, Eclogues, 3.103. 23. See Segal (1968), 295. 24. Ibid., 297. 25. Ibid., 298. 26. Freccero (1986), 132. 27. Petrarch, Petrarch: The Canzoniere, 515 and 514. 28. Ibid., ed. Musa (1996), xx. 29. See Freccero (1986), 132. 30. Petrarch, Petrarch: The Canzoniere, 289. 31. See Callaghan (2007), 72. 32. These standard descriptions of women’s eyes are recorded in Burton, The Anatomy of Melancholy, 467. 33. Scot, Discoverie of Witchcraft, 408. 34. Shakespeare, Romeo and Juliet, 2.3.12–13. 35. Callaghan (2007), 51. 36. See Wagner (1996), 10–11. 37. See Blumenberg (1985). For a reading of the poem in the context of literature and knowledge, see Baumbach (2009a). 38. Emig (1998), 181. 39. See Ovid, Metamorphoses, III.415–16. 40. See ibid., IV.771–802. 41. Alberti, On Painting, 61–3. 42. , The Histories, VII.228–9. See Baumbach (2000). 43. See Livingstone and Nisbet (2010), 37. 44. Emig (1998), 183. 45. See Baumbach (2009a). 266 Notes to Chapter 2

46. Orgel (1971), 372. 47. See Smith (2003). 48. Munday, A Second and Third Blast of Retrait from Plaies and Theatres, 95–6; see Tassi (2005), 18. 49. Agrippa, Occult Philosophy, 150. 50. Montaigne, Essays, 40. 51. Ibid., 44. 52. Ibid., 45. 53. Ibid. 54. Munday, A Second and Third Blast, 3. 55. Rankins, A Mirrour of Monsters: Wherein Is Plainely Described the Manifold Vices, &c Spotted Eenormities, that Are Caused by the Infectious Sight of Playes, with the Description of the Subtile Slights of Sathan, Making them His Instruments. 56. Ibid., sig. F1. 57. Ibid. 58. Gosson, Playes Confuted in Five Actions, sig. G4. 59. Ibid., sig. E7v. 60. Tassi (2005), 18. 61. Chalk (2010), 182. 62. O’Connell (2000). 63. See Montrose (1996), 30–2. 64. Montrose (1980), 62. 65. Clark (1931), 29. 66. See Otto (1936), ch. 21. 67. Zambelli (2007), 6. 68. Gosson, Playes Confuted in Five Actions, sig. F6r. 69. Prynne, Histrio-Mastix, 331. 70. Ibid., 149. 71. See Chalk (2010), 176. 72. See Harris (1998), 23; also Pantin (2005). 73. See Chalk (2010), 181. 74. Holland, Spirituall Preservatives Against Pestilence, sig. A5v. See Chalk (2010), 179–80. 75. See Totaro (2011), 9. 76. See Chalk (2010), 174. 77. Shakespeare, Romeo and Juliet, 3.1.101. 78. See Harris (2004), Barroll (1991), Gurr (2004 [1987]). None of these, however, establish a link between images of the plague and fascination, which is surprising given that both were regarded as maleficia, as evil acts performed by witches (see Burns [2003], 187–8, also 80). 79. Chalk (2010), 191. 80. Porta, Natural Magick, 232. 81. See Baumbach (2012b). 82. Gosson, The Schoole of Abuse, 48. 83. Gosson, Playes Confuted, sig. B7. 84. Gosson, The Schoole of Abuse, 49. 85. See Pausanias’ speech in ’s Symposium, 180c1–181a7. 86. Burton, Anatomy, 482. 87. See Frelick (2005), 54, also Ferrand (1990), 345–6. 88. Burton, Anatomy, 18. 89. See Wack (1990), 46. Notes to Chapter 2 267

90. Burton, Anatomy, 18. 91. Jaeger (2012), 220. 92. Burton, Anatomy, 187. 93. Ibid., 481. 94. Ibid., 482. 95. Wells (2010), 27. 96. Middleton, A Mad World, My Masters, 5.2.33–7. See Wells (2010), 28. 97. Wells (2010), 28. 98. Stubbes, The Anatomie of Abuses, sig. F5. See Prynne, Histrio-Mastix, 178–216. 99. Jones (2003), 128. 100. Totaro (2011), 16. 101. See Elam (1997). 102. See Baumbach (2009b). 103. See Seeber (2012), 160. 104. See Diehl (2008), 79–81. 105. Gosson, Playes Confuted, sig. E7v. 106. Diehl (2008), 81–2, quoting from The Winter’s Tale 5.3.76–7. 107. See Burnett (1996). 108. See Höfele (2006), 25. 109. Bell (1838), 35. 110. Ibid. 111. Ibid. 112. See ibid., 35–6. 113. Crane (2001), 125. For the image of eyes as guardians, see Crooke, Microcosmographia, 536. 114. See Seeber (2012), 156. 115. Neill (1991), 107. 116. For censorship, see Dutton (2000). 117. See Garber (1987), 120. 118. Clark (1931), 84. 119. Garber (1987), 109. 120. Ibid., 120. 121. James I, The Policial Works of James I, 272. See Garber (1987), 100. 122. Weiss (1986), 91. 123. Garber (1987), 103. 124. Girard (2000 [1991]), 22. 125. Vaughan (1996), 62. 126. Shakespeare, Othello, ed. Neill (2006), 116. 127. See Vaughan (1996), 62. 128. Wilson (1975), vii. 129. Ibid., ix. 130. See Baker (2004), 72. 131. Girard (2000 [1991]), 291. 132. For the powers of the face in Shakespeare’s plays, see Baumbach (2007, 2008). 133. Girard (2000 [1991]), 292. 134. Bacon, Sylva Sylvarum, 129. 135. Wells (2010), 180. See Othello, 3.3. 136. Daileader (1998), 37. 137. ‘OTHELLO: I look down towards his feet, but that’s a fable’ (Othello, 5.2.292). 138. Daileader (1998), 41. 139. Neill (1989), 385. 268 Notes to Chapter 3

140. Ibid. 141. Greenblatt (1988), 20. 142. Ibid., 65. 143. See Geertz (1983), 121–46. 144. Shils (1981), 107. 145. See Ellrich (1999), 191–2. 146. Harsnett, A Declaration of Egregious Popish Impostures, 196. 147. Ibid., 220. 148. Ibid., 196. 149. For the relation of exorcism and the theatre, see Greenblatt (1988), 94–128. 150. Laroque (2005), 235. 151. For a similar reading of Cleopatra, see Baumbach (2008), 137–44. 152. The association of Cleopatra and Medusa is also suggested in paintings of the Italian Renaissance (see Suzuki [2010], 207). 153. Wells (2010), 213. 154. The parallels, however, reach no further, as Cleopatra is anything but a chaste virgin. See ibid., 212. 155. Burton, Anatomy, 482. 156. Ibid. 157. Wells (2010), 156. 158. Burton, Anatomy, 483. 159. See Totaro (2011), 1. 160. See also Baumbach (2012a). 161. Marlowe, Doctor Faustus, 13.90. 162. See Laqué (2006). 163. Hendrickson (1998), 508. 164. Porta, Natural Magick, 11. 165. Bell (1838), 30. 166. Bacon, Opus Majus, 163. 167. Bell (1838), 30.

3 Facing the Femme Fatale: The Poetics of Seduction and the Fascination with Storytelling

1. See Menon (2006), 18–19. 2. Dijkstra (1986), 327. 3. See Clauss and Johnston (1997). 4. The expression femme fatale, however, did not appear in the English language until 1912. See Oxford English Dictionary, ‘femme’, 2. 5. See Stott (1992), ix. 6. Freud (1926), XX, 212. 7. Praz (1970), 215–16. 8. Bataille (1986), 211. 9. See Hedgecock (2008), Rummel (2008), Binias (2007), Menon (2006), Stott (1992), Dijkstra (1986), Praz (1970). 10. See Alsen (2000), 5. 11. Praz (1970), 17, 18, 45. 12. Ibid., 201. 13. See ibid., 216. 14. Ibid., 215. Notes to Chapter 3 269

15. See Bork (1992), 59. 16. Binias (2007), 38. 17. Rummel (2008), 11. 18. See Augustine, The City of God, II.27. This association, however, is not supported by the narrative of Genesis 3:1–8. Nonetheless, in some images of the Fall, for example Masolino’s Adam and Eve: The Fall (c. 1425) or Michelangelo’s Fall and Expulsion (1508), the snake was presented as having a woman’s face (see Bonnell [1917], 225). 19. See Milton, Paradise Lost, X.495–6. 20. Ibid., VIII.533. 21. Menon (2006), 227. 22. See ibid., 227–73. 23. Ibid., 259. 24. See Gustav Dolphe Mossa, Pandora (1907). 25. Lemprière (1788), ‘lamiae’. 26. See Plutarch, De Pythia Oraculis, 9, and Pausanias, Helládos Periegesis, X.12.1. 27. Phelan (2002). 28. Binias (2007), 12. 29. See Pedrini and Pedrini (1996), 75. 30. See ibid., 76. 31. Saladin (1993), 28. 32. De Bolla (2003), 70–1. 33. See Lippert (2009). 34. McGann (1972), 3. 35. Rzepka (1986), 27. 36. Richardson (2001), 127. 37. Hazlitt, ‘On Poetry in General’, 12. 38. Henderson (2008), 248. 39. Saladin (1993), 55. 40. Praz (1970), 25. 41. Pater (1925), 106. 42. Ibid. 43. Ibid., 108. 44. Adams (1995), 198. 45. Shelley, ‘On the Medusa of Leonardo da Vinci’, I.1–4. 46. Kelley (1997), 145. 47. See ibid., 143. 48. Radcliffe (1826), 150–1. 49. Hogle (2004), 3. 50. Radcliffe (1826), 150–1. 51. Shelley, ‘Defence of Poetry’, 11. 52. Ibid., 13. 53. See Merten (2004a). 54. Jacobs (1985), 169–70. 55. Ibid., 169. 56. See Pater (1925), 106. 57. McGann (1972), 5–7. 58. See Chapter 2 ‘Fascination and meta-poiesis’. 59. Jacobs (1985), 175. 60. Judson (2001), 137. 61. See Jacobs (1985), 173. 270 Notes to Chapter 4

62. See McGann (1972), 17. 63. See Hertz (1985). 64. See DeLong (2012), 109–10. 65. Bandiera (2008), 95. 66. Ibid., 96. 67. Conte, La Casa delle Onde, 332. Quoted from Bandiera (2008), 96. 68. See also S. Baumbach (2010). 69. Albrecht (2009), 8. 70. See Kristeva (2012), 28. 71. Quoted from Macleod (1996), 263–4, n. 142. 72. Rossetti, Letters, 643. 73. See ibid. 74. Swinburne, ‘Notes on Some Pictures of 1868’, 212. 75. Miller (1991), 334. 76. Ofek (2009), 79. 77. Rossetti, Letters, 850. 78. See Allen (1984), 286. 79. Nietzsche (1924), 99. 80. Derrida (1979), 49. 81. Ibid. 82. Saladin (1993), 46. 83. Snyder (1930). 84. Coleridge, Table Talk, 149. 85. Coleridge, Marginalia, 371. 86. See Ford (1998), 104–5. 87. Pillow (2000), 5–6. 88. See Richardson (2001), esp. 39–54. 89. Vickers (2004), 120. 90. Cook, The Three Voyages, 236–7. 91. Keane (1994), 361. 92. See Wheeler (1982), 130. 93. Keane (1994), 190. 94. The Notebooks of S. T. Coleridge, 2541. 95. Heymans (2012), 44. 96. Shelley, ‘The Waning Moon’, v.1. 97. McDonald (2004), 47. 98. D’Avanzo (1967), 194. 99. Wilson (1964), 141–2. 100. See Matthews (1971), 72, 92, 98–109 and 111–14. 101. Kelley (1987), 341. 102. See Finlayson (2000). 103. See Baumbach (2006). 104. Punter (1980), 113. 105. Hume (1974), 123.

4 The Spark of Inspiration: Mesmerism, Electrifying Fiction and Gothic Fascination

1. Gisborne, Enquiry, 216–17. 2. Coleridge, ‘[Review of] Matthew G. Lewis: The Monk’, 197. Notes to Chapter 4 271

3. Anon., ‘Art. 28: The Monk’. 4. McEvoy (1995), xxx. 5. Bataille (1986), 68. 6. Johnson (2010). 7. Hurley (2011), 194. 8. Quoted from Sage (1990), 145. 9. Lewis, Monk, 18. 10. See ibid., 16: ‘He seems to have fascinated the Inhabitants’ and ibid., 90: ‘She took his hand: Confused, embarrassed, and fascinated, He withdrew it not, and felt her heart throb under it.’ 11. Praz (1970), 202. 12. Lewis, Monk, 65. 13. Ibid., 387. 14. DeLamotte (1990), 22. 15. Stevens (2000), 98. 16. See Hogle (2012), 501. 17. See Walpole, The Castle of , 19 and 26. 18. Fisher (2004), 76. 19. Scott, Guy Mannering, 383. 20. Ibid., 385. 21. Scott, On the Supernatural in Fictitious Composition, 223–4. 22. See Freud (1985). 23. Royle (2003), 1–2. 24. See Kristeva (1982), 3–4. 25. Todorov (1975), 41. 26. Ibid., 25. 27. See ibid., 47–8. 28. See Miles (1995), esp. 132. 29. Burke, A Philosophical Enquiry, 36–7. 30. Ibid., 53. 31. Richardson (2010), 29. 32. Ibid., 34. 33. Hoffman (1998), 48. See Richardson (2010), 19. 34. Keats, ‘Ode on a Grecian Urn’, V.4. See Richardson (2010), 20. 35. Scarry (2001), 244. See also Richardson (2010), 44. 36. Shelley, Frankenstein, 97 and 38: ‘the sublime shapes of the mountains’. All refer- ences are to the Penguin edition, ed. Hindle, unless otherwise noted. 37. Shaw (2006), 111. 38. Carroll (1992), 85. 39. Ibid. 40. See Knellwolf and Goodall (2008), Vasbinder (1984 [1976]). 41. See Winter (1998), 122. 42. Advertising broadsheet, January 1846, Kirklees Libraries and Museum; quoted from Winter (1998), 123, fig. 31. 43. See Galvani, De Viribus Electricitatis in Motui Musculari (1791). 44. See Knellwolf and Goodall (2008), 7. 45. See Smith (1994). 46. Bacon, Advancement of Learning, 206. 47. See also Morus (1998). 48. See Thorndike (1923), 475. 49. See Agrippa, Occult Philosophy, 152–4. 272 Notes to Chapter 4

50. Cf. Waterfield (2002), 57. 51. See Chapter 1 ‘Of magic, love and envy’. 52. Southey, The Minor Poems of Robert Southey, Vol. 3, 93–4. 53. See Butler (2008), xxvii–xxviii. 54. In the 1818 text, the context of electricity is even more obvious. While the 1831 edition mentions the presence of ‘a man of great research in natural philosophy’ (42), who ‘entered on the explanation of a theory which he had formed on the subject of electricity and galvanism’ (43), in the 1818 text, the theme of electric- ity, which initiates the overthrow of Frankenstein’s former models, is expanded by first experiments that are conducted not by a stranger, but by Victor’s father, who explains the nature of lightning to his son: ‘He replied, “Electricity”; describ- ing at the same time the various effects of that power. He constructed a small elec- trical machine, and exhibited a few experiments; He made also a kite, with a wire and string, which drew down that fluid from the clouds’ (Shelley, Frankenstein [1818], ed. Butler, 24). The fact that, in the 1831 text, the knowledge of electricity does not run in the family heightens Frankenstein’s position as self-made scien- tist and solitary genius. 55. See Bigland (1959), 234. 56. Hunt, The Poetical Works, 212. 57. See Hill (2008), 61. 58. See Miller (1987), 416. 59. See Ketterer (1979), 57. 60. Stevenson, Dr Jekyll and Mr Hyde, 55. 61. Ibid., 52. 62. See Ketterer (1979), 50–1. 63. ‘I found in it a never-ending source of speculation and astonishment. [...] As I read, however, I applied much personally to my own feelings and condition. I found myself similar, yet at the same time strangely unlike to the beings concern- ing whom I read, and to whose conversation I was a listener’ (131). 64. Victor also expresses the desire to keep his story private: ‘My tale was not one to announce publicly; its astounding horror would be looked upon as madness by the vulgar’ (81). 65. Purchase (2006), 70. 66. See ibid., 70–3. 67. See Mukherjee (2003), 74. 68. See Malone (1989). 69. Dickens, Hard Times, 28. 70. Ibid., 65. 71. See Foucault (1995). 72. Dickens, Hard Times, 54. 73. See Bentham, Panopticon. 74. Dickens, Hard Times, 40. 75. Bodenheimer (2007), 105. 76. Scarborough (2009), 97. 77. Bodenheimer (2007), 106. 78. See van Schlun (2007), 18 and 46–7. 79. Willis and Wynne (2006), 7. 80. See ibid., 15, and Wynne (2006), esp. 230–4. 81. Doyle, The Parasite, 7. 82. Ibid., 23–4. Notes to Chapter 4 273

83. Ibid., 26. 84. Cranny-Francis (1988), 104. 85. Ibid. 86. See McDonald (2004), 47. 87. Willis and Wynne (2006), 4. 88. Stoker, , 23. 89. Lombroso-Ferrero (1911), 15. 90. Weber (1968), 48. 91. Prest, Varney, 147. 92. Ibid. 93. See Chapter 1 ‘Of magic, love and envy’. 94. See Stoker, Dracula, 24, 88 and 43. 95. Dijkstra (1986), 342. 96. Arata (1990), 628. 97. Stoker, Dracula, 179. 98. See De Vere (2004), 81. 99. The link to Medusa has also been noted by Camille Paglia, ‘the vampire’s power to fascinate derives from the snake’s legendary ability to immobilise its prey by fixing its eyes upon it’ ([1992], 339). 100. Francis Ford Coppola’s movie adaptation emphasises this aspect by presenting her as a heavily flirtatious girl with long, red hair and distinctly seductive quali- ties. See Roth (1997 [1977]), 6. 101. Williams (1995), 123. 102. Punter (1980), 260. 103. See Hallab (2009), 61. 104. See Willis and Wynne (2006), 4. 105. See Barrows (2010), 76. 106. See Stockhammer (2000), 12. 107. Willis and Wynne (2006), 4. 108. See Foubister (2003), 74. 109. See Pausanias, Description of Greece, VIII.xlii.1–4. 110. See , frag. 130, and Carson (1986). 111. See Ames (2010), 43. 112. Craft (1984), 110. 113. Ibid., 117, also Schaffer (1994). 114. Ledger (1997), 103. 115. Craft (1984), 111. 116. See Holte (1997), 103. 117. See Chapter 3 ‘The (non-)encounter with Medusa’. 118. See Klinger (2008), 307, n. 19; Williams (1995), 123. 119. Drawmer (2006), 49. 120. Prest, Varney, 96. 121. Ibid., 6. 122. See Drawmer (2006), 48. 123. ‘Nothing in fiction is more powerful than the scene at the killing of the vampire in Lucy’s tomb’ (anonymous review, San Francisco Chronicle, 17 December 1899; quoted from Stoker, Dracula, 367). 124. Though Dracula burns the cylinders of the phonograph, their content is not lost, as copies of the transcribed reports survive (see Stoker, Dracula, 249). 125. Kittler (1989), 167. 274 Notes to Chapter 5

126. See Kittler (1993) and Stockhammer (2000). 127. McLuhan (2001), 351. 128. See van Schlun (2007), 304. 129. As Klinger remarks, ‘the message is delivered within thirty-five minutes of its sending’ ([2008], 415, n. 9). 130. See Mark Twain, Mental Telegraphy (1893), and Otis (2001), 191. 131. See Stockhammer (2000), 251. 132. Van Schlun (2007), 304. 133. See Auerbach and Skal (1997), 271, n. 5. 134. Du Maurier, Trilby, 259. 135. See Stockhammer (2000), 59. 136. See Moss (1998). 137. Brittnacher (1994), 121. 138. See Stockhammer (2000), 10. Stockhammer observes that the bushy eyebrows Dracula and Van Helsing share constitute a key feature of the magician (mod- elled on Coppola from E. T. A. Hoffmann’s Sandman). 139. See Story (2003 [1877]), 160. 140. See Shamas (2007), 95. 141. Moretti (1983), 97. 142. Ibid., 98. 143. Eighteen-Bisang and Miller (2008), 291–2. 144. Carroll (1987), 56. 145. ‘Now and again we passed [...] the ordinary peasant’s cart, with its long, snake- like vertebra, calculated to suit the inequalities of the road’ (15). 146. Senf (1997), 427. 147. Anonymous review, San Francisco Chronicle, 17 December 1899; quoted from Stoker, Dracula, 366. 148. Anonymous review, The Daily Mail, 1 June 1897; quoted from Stoker, Dracula, 363–4. 149. Ibid., 364. 150. The Academy, XX (1881), 431; quoted from Hughes (2000), 23. 151. Anonymous review, The Daily Mail, 1 June 1897; quoted from Stoker, Dracula, 363. 152. See ibid. 153. McDonald (2004), 47.

5 The Anxiety of Infl uence: Fascination with the Self and the Other

1. See Schaffer (1994), 390. 2. Stoker, Dracula, 53. 3. See McDonald (2004), 47. 4. McCormack (1997), 110. 5. Ibid., 111. 6. Wilde, The Picture of Dorian Gray, 3. 7. See Seeber (2004), 324. 8. Seeber (2010a) and (2012), 97–8. 9. Seeber (2004), 323. 10. Ibid., 331. 11. See Girard (1969), 1–52. Notes to Chapter 5 275

12. Seeber (2004), 324. 13. Ibid., 334. 14. See ibid., 325. 15. Ibid., 333. 16. Ibid., 326. 17. Wilde, The Letters of Oscar Wilde (1962), 264. 18. Lord Douglas on Wilde, quoted from McKenna (2005), 158. 19. Ibid. 20. Ibid., 157. 21. Ibid., 158 and 184. 22. See Hampton (2011) and Seeber (2004), 325. 23. See Weber (1968), 39 and 60. 24. Jaeger (2012), 15. 25. Huysmans, Against Nature, 156. 26. Ibid., 80. 27. See ibid., 155–6. 28. Porter (1987), 53–5. 29. Huysmans, Against Nature, 37. 30. See Hampton (2011), 38 31. Beckson (1970), 72. See Doyle (1992), 21. 32. See Powell (1997), 186. 33. The Era, 17 June 1899, 17. 34. Mendelssohn (2007), 154. 35. See Nünning (2002). 36. Wilde, Dorian Gray, 182, my emphasis. 37. Gell (1998), 12–27. 38. Ibid., 31. 39. Ibid. 40. Ibid. 41. Adams (2002), 53. 42. Riquelme (2000), 626. 43. Shakespeare, Macbeth, 5.1.30. 44. Riquelme (2000), 626. 45. Ellmann (1988), 315. 46. See O’Malley (2006), 172. 47. See Chapter 3 ‘The (non-)encounter with Medusa’. 48. Pater (1925), viii. 49. See ibid., 233–4. 50. Ibid., 98. 51. See ibid., 125. 52. Ibid., 115–16. 53. Ibid., ix. See Albrecht (2009), 76. 54. Wilde, Dorian Gray, 51. 55. Pater (1925), 106. 56. Belford (2000), 171. 57. Ward (2003), 218. Wilde is said to have frequently reminded friends of techniques on how to avoid the evil eye (see Belford [2000], 19). 58. See Bentley (2002) and Meltzer (1989). 59. Huysmans, Against Nature, 47. 60. Saladin (1993), 59. 61. Gay (1984), 201. 276 Notes to Chapter 5

62. See Dierkes-Thrun (2011). 63. Ibid., 2. 64. See ibid., 15–55. 65. Saladin (1993), 63. 66. Said (1978), 115. 67. Saladin (1993), 159. 68. Wilde, Salome, ll. 203–22. 69. Saladin (1993), 130. 70. Ibid., 133. 71. It is a curious incident that Aubrey Beardsley’s drawing The Woman in the Moon (1894), which illustrates this scene in the print edition, bears some resemblance to Wilde. The moon and its attraction hence become a means for meta-reflec- tion upon the magnetic powers of the writer and playwright. 72. Saladin (1993), 132. 73. Ibid., 135. 74. Ibid., 170. 75. See Alt (2010), 307. 76. Ibid., 300, my translation. 77. Saladin (1993), 142 refers to Iokanaan as ‘a verbal magician’. 78. Donohue (2004 [1997]), 134. 79. Saladin (1993), 156. 80. See Alt (2010), 309. 81. See Wilde, Salome, ll. 1063–8. 82. See Donohue (2004 [1997]), 131. 83. Wilde, Dorian Gray, 4. 84. Wells, A Critical Edition of the War of the Worlds, 63. 85. Simmons (2009), 368, who refers to Wells’ work as an example of ‘Polyp Fiction’. 86. Fumagalli (2009), 1. 87. Kristeva (1991), 39. 88. Adams (1995), 138. 89. Kingsley, Two Years Ago, 187. 90. See Brantlinger (1988), 228–9, also Adams (1995), 138–9. 91. See Brantlinger (2004), 54–6. 92. Stanley, Through the Dark Continent, 157. 93. Stanley, Autobiography, 92. 94. Youngs (2002), 161. 95. Stanley, Through the Dark Continent, 157–8. 96. Elbarbary (1993). 97. Buzard (2005), 10. 98. Ette (2003), 19 99. See Achebe (1977). 100. Conrad, The Nigger of the ‘Narcissus’, 147. 101. See Conrad, Geography, 382. 102. See Seeber (2012), 296. 103. We find similar strategies in other Marlow narratives: in Youth, his journey is also initiated by an instance of fascination: ‘the first sigh of the East upon my face. That I can never forget. It was impalpable and enslaving, like a charm, like a whispered promise of mysterious delight’ (91). 104. See Seeber (2012), 297–302, also Seeber (2007) and Levenson (1988). Notes to Chapter 6 277

105. Stott (1992), 133. 106. Seeber (2012), 304. 107. Conrad, , 59, my emphasis. 108. See Stott (1992), 139. 109. See Said (1978), 219–20. 110. Freud (1926), XX, 212. 111. Stott (1992), 130–1. 112. See Newman, Fascination, 22. 113. Stott (1992), 138. 114. See Watt (1980), 175–9 and 270–1. 115. Stott (1992), 133. 116. Ibid. 117. See Youngs (2002), 156. 118. Stott (1992), 141. 119. Jean-Aubry (1927), Vol. 1, 183. 120. Ibid., Vol. 2, 125. 121. Stott (1992), 161. 122. Ibid., 162. 123. Shakespeare, Macbeth, 5.5.13. 124. Said (1978), 227.

6 The Gorgon Gazes Back: Contemporary Fascination

1. Felski (1995), 10. 2. See S. Baumbach (2010). 3. See Kroll (2007), xxx–xxxi; Johnson (2003), 87–8. 4. Axelrod (2006), 83. 5. Raymond (2006), 204. 6. McLuhan (2001), 289. 7. Barthes (1977), 122. 8. Buch (2010). 9. Ibid., 17. 10. Lyotard (1984), 78. 11. See Weber (2009), 155. 12. Meyer, Twilight, 218. 13. See Merten (2004b), 109. 14. Shanks (1996), 168. 15. See Rowland (2001), 69. 16. See Merten (2004b), 110. 17. See ibid., 116. 18. Adorno (1974), 235–6. 19. Abbas (1989), 56. 20. Ibid., 57. 21. Ibid., 58. 22. Benjamin (1973), 243. 23. Abbas (1989), 59. 24. See Sontag (2003), 22. 25. Bukatman (2002 [1990]), 13–14. 26. Buch (2010), 17. 27. Baudrillard (1983), 85. 278 Notes to Chapter 6

28. Baudrillard (1999 [1991]), 146. 29. Beigbeder, Windows on the World, 8. 30. See Kellner (2003) and Lorenz (2004), 10. 31. Sontag (2003), 63. 32. Debord (1983). 33. McEwan, ‘Beyond Belief’. 34. Ibid. 35. Ibid. 36. Bronfen (2001). 37. See Anz (2002), 128. 38. See Lurie (2006). 39. See Kaplan (2005), 31–2, also Caruth (1996) and (1995a), Luckhurst (2008). 40. Junod (2003). 41. See Raspe (2008), 372–3. 42. Junod (2003). 43. This image supports the hypothesis that fascination requires some degree of knowledge and recognition, because its petrifying power predominantly derives from contextualisation. While we do not see the body hit the ground, the hor- ror arises from our ability to imagine the scene, by recalling further images of the unspeakable event and envisioning the events preceding and following the moment frozen by the picture. 44. See Raspe (2008), 375. 45. Kahane (2003), 111. 46. Sontag (2003). 47. Lurie (2006), 65. 48. Ibid. 49. Bukatman (2002 [1990]), 69. 50. McLuhan (2001), 51. See Baudrillard (1983), Debord (1983). 51. See Frost (2008), 190. 52. Ibid., 193. 53. Versluys (2009), 142. 54. Ibid., 142–3. 55. DeLillo (2001), 33. 56. Versluys (2009), 143. 57. Apitzsch (2010), 97. See Abel (2003), 1240. 58. Grössinger (2010), 85. 59. DeLillo in an interview with Mark Binelli, ‘Intensity of a Plot’, Guernica, July 2007; quoted from Pöhlmann (2010), 54. 60. See Erll (2003), 162. 61. McLuhan (2001), 53. 62. Abel (2003), 1240. 63. Ibid. 64. See Houen (2004), 419. 65. Luckhurst (2008), 79. 66. See Schneck and Schweighauser (2010), 5. 67. Bizzini (2010), 48. 68. Caruth (1995a), 5. 69. Whitehead (2004), 7. 70. Blanchot (1981), 76–7. 71. Grössinger (2010), 88. Notes to Chapter 6 279

72. Caruth (1995b), 153. 73. Ibid. 74. Zunshine (2006), 7. 75. Apitzsch (2010), 95. 76. Baudrillard (1980), 146. 77. McLuhan (2001), 28. 78. Baudrillard (2001), 4–5. 79. See Kahane (2003), 114. 80. Connor (2000). 81. Connor (1998), 12. 82. Keniston and Quinn (2008), 3. 83. Snow (1998 [1959]). 84. Stedman (2008), 113. 85. Head (2007), 192–3. 86. Zunshine (2006), 17. 87. Birrer (2005), 169. 88. Herman (2012), 172. 89. Ibid. 90. In analogy to LeDoux’s concept of ‘conscious fear’ (2003), 732. 91. See Kihlstrom (1987) and Kosslyn and Koenig (1992). 92. LeDoux (2003), 732. 93. Based on LeDoux’s theory of the cognitive processing of fear (ibid., 733). 94. See Iser (1993 [1989]), 10. 95. Slay (1996), ix. 96. Ibid., 50. 97. Quoted from ibid., 12. 98. See Roberts (2003), 247. 99. Baudrillard (2002), 152. 100. Ibid. 101. See Tanner (2005). 102. Booth (1998), 378. 103. See Slay (1996), 147–8. 104. Malcolm (2002), 39. Bibliography

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abjection, 151–2 Arnold, Matthew, 239 Achebe, Chinua, 212 ‘Aspecta Medusa’ (Rossetti), 128–31 Aeneid (Virgil), 72 attention, 19 aesthetics/ethics, 61 attraction/repulsion, 24, 52–5 in ‘Butterflies’ (McEwan), 242 in ‘Aspecta Medusa’ (Rossetti), 131 in Heart of Darkness (Conrad), 212 in ‘La Belle Dame Sans Merci’ (Keats), see also under Wilde, Oscar,The Picture 143–4 of Dorian Gray in ‘Butterflies’ (McEwan), 243–6 affection, 47–8 in Falling Man (DeLillo), 236 Against Nature (A Rebours) (Huysmans), in Frankenstein (Shelley), 155, 156, 194, 195–6, 202–3 158, 162–3, 164 Agrippa, Henry Cornelius, 53, 160 in Heart of Darkness (Conrad), 217–18 Alberti, Leon Battista, 82 in ‘Medusa’ (Plath), 221 Albertus Magnus, 160 and 9/11 attacks, 225, 226 Albrecht, Thomas, 15 in ‘On the Medusa of Leonardo da Aldini, Giovanni, 159 Vinci’ (Shelley), 122–3 Andromeda, 128–30 in Othello (Shakespeare), 100 animal magnetism, 54–6, 112, 136–7 in The Picture of Dorian Gray Antony and Cleopatra (Shakespeare), (Wilde), 190 105–6 in Salome (Wilde), 206 Apitzsch, Julia, 236–7 see also magnetism; magnetism of apotropaic devices, 43, 63–4 narratives in ‘Aspecta Medusa’ (Rossetti), 135 auras, of texts, 32–5 in Catullus’ poetry, 78 Avicenna, 48 in Dracula (Stoker), 175, 184, 185 in Gothic fiction, 149 Bacon, Francis, 39, 40, 42, 46, 47, in Heart of Darkness (Conrad), 214 49–50 images, 60 Bacon, Roger, 43, 111 in ‘Lilith’ (Rossetti), 135 ‘Bas Bleu, The’ (More), 161 in Macbeth (Shakespeare), 98 basilisks, 37, 43, 44, 45 in Medusa (Caravaggio), 65–6 Bataille, Georges, 147–8 in ‘On the Medusa of Leonardo da Baudrillard, Jean, 224, 237, 245 Vinci’ (Shelley), 127 Beardsley, Aubrey, The Climax the phallus, 43, 57 (illustration), 208 in The Picture of Dorian Gray (Wilde), Beigbeder, Frédéric, 224–5 200 ‘Belle Dame sans Merci, La’ (Keats), in The Rime of the Ancient Mariner 143–6 (Coleridge), 142 Bell, John, 55–6, 95 in Romeo and Juliet (Shakespeare), 109 Benjamin, Walter, 32–3 in The Winter’s Tale (Shakespeare), 95 Bernhardt, Sarah, 196 Appariton, The (painting, Moreau), 202–3 Blanchot, Maurice, 17, 61, 62, 234–5 Arata, Stephen, 170 ‘Blue Stocking Revels’ (Hunt), 161 A Rebours (Against Nature) (Huysmans), Bluestockings, 161 194, 195–6, 202–3 Bodenheimer, Rosemarie, 167

309 310 Index

‘Body’s Beauty’ (Rossetti), see ‘Lilith’ cross-dressing, 92 (Rossetti) Cusa, Nicolas of, 50 Booth, Wayne, 245–6 Braid, James, 56 Dabney, Robert Lewis, 34 Bredekamp, Horst, 13, 16 Daileader, Celia, 102 Browning, Robert, ‘Mesmerism’, 167 Dante Alighieri, The Divine Comedy, 71–6 Bruno, Giordano, 53 deferral of meaning, 222 Buch, Robert, 222 in ‘Aspecta Medusa’ (Rossetti), 131 Burke, Edmund, 152–3 degeneration Burton, Robert, 41, 91, 106, 107 in ‘Butterflies’ (McEwan), 243–4 ‘Butterflies’ (McEwan), 242–6 in Dracula (Stoker), 169, 170 in Two Years Ago (Kingsley), 210 Caravaggio, Michelangelo Merisi da, DeLillo, Don, Falling Man, 229–38 Medusa (painting), 65–6, 67, 68 DeLong, Anne, 16 Carroll, Noël, 21, 158 Delrio, Martin, 38 catoblepas, 37 Derrida, Jacques, 135 Catullus, love poems, 76–8 Dickens, Charles, Hard Times, 166–7 Cervantes, Miguel de, Don Quixote, 33–4 Dierkes-Thrun, Petra, 203 Chalk, Darryl, 88 Discoverie of Witchcraft, The (Scot), 38–9, Charcot, Jean-Martin, 182 44, 45 charisma, 33–4, 57–9, 103–4 distance, 30–1 in Dracula (Stoker), 169 in Falling Man (DeLillo), 232 in Othello (Shakespeare), 100 in Frankenstein (Shelley), 166 in The Picture of Dorian Gray (Wilde), in ‘Lilith’ (Rossetti), 134–5 195 in ‘Medusa’ (Plath), 220 ‘Christabel’ (Coleridge), 118–19 and 9/11 attacks, 226 Cixous, Hélène, 67 in ‘On the Medusa of Leonardo da Climax, The (illustration, Beardsley), 208 Vinci’ (Shelley), 124–5, 127 cockatrices, 37, 108 see also systolic–diastolic pulse Coleridge, Samuel Taylor Divine Comedy, The (Dante), 71–6 ‘Christabel’, 118–19 Dixon, Wheeler W., 16 The Rime of the Ancient Mariner, Donne, John, 50–1 136–43 Don Quixote (Cervantes), 33–4 colonialism doppelgängers, 151 in Heart of Darkness (Conrad), in Dracula (Stoker), 183 211–12, 214, 216 in Frankenstein (Shelley), 162 in Two Years Ago (Kingsley), 210 in Strange Case of Dr Jekyll and Mr Hyde colonialisation, reverse, in Dracula (Stevenson), 162–3 (Stoker), 170 Doyle, Arthur Conan, The Parasite, Connor, Steven, 20, 237 167–8 Conrad, Joseph Dracula, see Stoker, Bram, Dracula Heart of Darkness, 211–18 dreams, 35, 112, 157 Lord Jim, 214–15 Drew, Richard, The Falling Man consumerism, 59–61 (photograph), 61, 226–8, 232–3 contagion, see infection Drummond, William, ‘The Statue of Conte, Giuseppe, 128 Medusa’, 80–5 Cook, James, 138–9 Du Maurier, George, Trilby, 182 ‘Cornelius Agrippa’ (Southey), 160 Craft, Christopher, 175 Echo, 62–3 Crane, Mary T., 96 Eclogues (Virgil), 42 Index 311 ekphrasis, 32 evil tongue, 46–7, 76–8 electricity, 15 exorcism, 104–5 in Dracula (Stoker), 180 Extremely Loud and Incredibly Close in Frankenstein (Shelley), 158–61 (Foer), 228–9 Elkins, James, 13, 29 eyes, 27, 39 Elworthy, Thomas, 57 in Dracula (Stoker), 170, 171, 177–8 emanation theory of vision, 39–40 emanation theory, 39–40 see also evil eye and envy, 41–2 emotions, 19–24 in Frankenstein (Shelley), 156, 157 empathy, 23 in Hard Times (Dickens), 167 , 39 in Heart of Darkness (Conrad), 214 Enterline, Lynn, 66–7 in ‘In Between the Sheets’ (McEwan), envy, 41–2, 47 248 in A Midsummer Night’s Dream and love, 40–1, 42 (Shakespeare), 109 in A Midsummer Night’s Dream in Othello (Shakespeare), 101 (Shakespeare), 110 epigram, 83 in The Monk (Lewis), 148 erotic fascination in The Picture of Dorian Gray (Wilde), in Dracula (Stoker), 174–8, 184–5 193, 194, 195, 198 in ‘In Between the Sheets’ (McEwan), in The Rime of the Ancient Mariner 246 (Coleridge), 137, 138, 139 in ‘Lilith’ (Rossetti), 132–3 in Romeo and Juliet (Shakespeare), in The Parasite (Doyle), 167–8 108–9 in The Picture of Dorian Gray (Wilde), in Salome (Wilde), 206, 207 191–2 in The Sandman (Hoffmann), 151 in Salomé (Wilde), 206 in Shakespeare’s sonnets, 79, 80 see also love and theatre, 85–7 ethics/aesthetics, 61 see also evil eye; gaze, the in ‘Butterflies’ (McEwan), 242 in Heart of Darkness (Conrad), 212 Falling Man (novel, DeLillo), 229–38 see also under Wilde, Oscar,The Picture Falling Man, The (photograph, Drew), of Dorian Gray 226–8, 232–3 Ette, Ottmar, 211–12 ‘Fall of the House of Usher, The’ (Poe), evil eye, 37–9 152 and Antony and Cleopatra fantastic, the, 152 (Shakespeare), 105 fascination, definitions, 11–12, 24, and Catullus’ poetry, 77 28–9 in ‘Christabel’ (Coleridge), 118–19 fascination, history of, 35–61 and Dracula (Stoker), 170, 178–9, 184 charisma, 57–9 and envy, 42 consumerism, 59–61 in Gothic fiction, 150 imagination, 48–50 and imagination, 48 infection, 46–8 Lacan on, 57 magic and myth, 36–46 and Medusa, 63 religion, 50–2 and phallic symbols, 43 science, 52–7 in The Rime of the Ancient Mariner fascination, narratives of, 24–35 (Coleridge), 136, 137 captivating texts, 32–5 and Shakespeare’s sonnets, 80 categories of fascination, 27–9 and women, 44, 66 motifs and stimuli, 27, 29–32 see also emanation theory of vision overview, 24–6 312 Index fascination, repeatability of, 28, 241 in Frankenstein (Shelley), 157, 164 fascination, scholarship on, 12–24 in The Gaze of the Gorgon (Harrison), fascinum, 43, 57 223 Fascinus, 43 and gender, 149 Felski, Rita, 35, 219 in Gothic fiction, 149, 150 female magic, 43–5 in Hard Times (Dickens), 166–7 femmes fatales, 114–16 in Heart of Darkness (Conrad), 211, in Antony and Cleopatra (Shakespeare), 214, 216 105 in Lady Lilith (Rossetti), 133 in ‘Aspecta Medusa’ (Rossetti), in ‘Lamia’ (Keats), 117–18 128–31 in ‘On the Medusa of Leonardo da in ‘La Belle Dame sans Merci’ (Keats), Vinci’ (Shelley), 126, 127 143–4 in The Picture of Dorian Gray (Wilde), in ‘Christabel’ (Coleridge), 118–19 197, 198, 199 in Dracula (Stoker), 176 and psychoanalysis, 57 and gender, 119 and religion, 50 in Heart of Darkness (Conrad), 214, in Salome (Wilde), 205, 207 215, 216 of texts, 13, 32–5, 68–9 and imagination, 119–20 Geertz, Clifford, 58 in ‘Lamia’ (Keats), 117–18 gender in ‘Lilith’ (Rossetti), 131–5 cross-dressing, 92 in The Monk (Lewis), 148 and Dracula (Stoker), 175–6 in ‘On the Medusa of Leonardo da and evil eye, 43–5 Vinci’ (Shelley), 121–8 and Gothic fiction, 149, 150 in The Rime of the Ancient Mariner and Medusa myth, 66–7 (Coleridge), 138 see also femmes fatales; New in Salome (Wilde), 202–8 Women and snake imagery, 45, 116–20 Géricault, Théodore, The Raft of the and visual/verbal tension, 120 Medusa (painting), 210–11 see also Medusa Gilbert, William, 54 Ficino, Marsilio, 40, 41 Gioconda, La (painting, Leonardo da fictionality, 23 Vinci), 201 Fischl, Eric, Tumbling Woman (sculpture), Girard, René, 32, 99 228 Gisborne, Thomas, 147 Foer, Jonathan Safran, Extremely Loud Glanvill, Joseph, 53 and Incredibly Close, 228–9 Gosson, Stephen, 86–7, 89–90, 93 Fracostoro, Girolamo, 87–8 Gothic fiction, 147–54 Frankenstein, see Shelley, Mary, Greenblatt, Stephen, 103 Frankenstein Gumbrecht, Hans Ulrich, 16, 17, 18, Freccero, John, 75, 78–9 26, 36 Freud, Sigmund, 56–7, 66 Guy Mannering (Scott), 150 Fumagalli, Maria, 209 Hahnemann, Andy, 12 Galvani, Luigi, 56, 159 Hakim, Catherine, 59 galvanism, 158–61 Hamlet (Shakespeare), 96 Garber, Marjorie, 97, 98 hard fascination, 28–9 Gaze of the Gorgon, The (Harrison), Hard Times (Dickens), 166–7 222–4 Harris, Oliver, 24 gaze, the, 27 Harrison, Tony, The Gaze of the Gorgon, in ‘Butterflies’ (McEwan), 245 222–4 in ‘Christabel’ (Coleridge), 119 Harsnett, Samuel, 104 Index 313

Head of Medusa, The (painting, Flemish Kittler, Friedrich, 180 School), 122, 201, 202 knowledge, cultural, 25–6, 29–30 Heart of Darkness (Conrad), 211–18 and Falling Man (DeLillo), 233 Heinrich, Klaus, 15, 51 and ‘In Between the Sheets’ Heliodorus, 42 (McEwan), 247 Herman, David, 240 and Shakespeare’s sonnets, 79–80 Hoffmann, E. T. A., The Sandman, 151 and ‘The Statue of Medusa’ Hogan, Patrick C., 21, 23, 24, 30 (Drummond), 81–2, 84 Hogshead, Sally, 59 Kramer, Heinrich, Malleus Maleficarum, Homer 38, 45 Iliad, 32 Kristeva, Julia, 151, 209 Odyssey, 33, 74 horror, 123–4 Lacan, Jacques, 57 Hunt, Leigh, ‘Blue Stocking Revels’, 161 Lady Lilith (painting, Rossetti), 133–5 Huysmans, Joris-Karl, Against Nature (A ‘Lamia’ (Keats), 117–18, 120 Rebours), 194, 195–6, 202–3 lamiae, 116–17 hypnosis, 35, 56 Ledger, Sally, 175 in Dracula (Stoker), 181–2 Lee-Hamilton, Eugene, ‘On Leonardo’s in The Picture of Dorian Gray (Wilde), Head of Medusa’, 126–7 192, 193 Leonardo da Vinci, La Gioconda in Salome (Wilde), 204 (painting), 201 Levinas, Emmanuel, 24 iconoclasm, 94–5 Lewis, C. S., 58 idolatry, 94–5 Lewis, Matthew Gregory, The Monk, 147, images, 13, 31–2, 33 148–9 and 9/11 attacks, 224, 225–8 ‘Lilith’ (Rossetti), 131–5 see also visual/verbal interplay Lombroso, Cesare, 169, 243 imagination, 48–50, 85 Lord Jim (Conrad), 214–15 ‘In Between the Sheets’ (McEwan), love 246–51 as contagion, 47–8, 89–91 infection, 46–8 in Dracula (Stoker), 174–6 in Romeo and Juliet (Shakespeare), and eyes, 39–41, 42 107, 109 in ‘Lamia’ (Keats), 117–18 and theatre, 87–8, 92 and magnetism, 53 in Twelfth Night (Shakespeare), 89, 91 in A Midsummer Night’s Dream interest, 23–4 (Shakespeare), 109–10 Izard, Caroll Ellis, 23 in Othello (Shakespeare), 100, 101, 102 in Romeo and Juliet (Shakespeare), Jacobs, Carol, 126, 127 106–9 Jaeger, Stephen, 33–4 in Twelfth Night (Shakespeare), 89–92 James I, King, 98 see also erotic fascination jellyfish (medusae), 138–9, 209, 220 Luther, Martin, 37 Johnson-Laird, Philip, 20 Lyotard, Jean-François, 222

Kahane, Claire, 227 Macbeth (Shakespeare), 96–9 Keane, Patrick, 139–40 magia naturalis (natural magic), 52–3 Keats, John magic, 35–7 ‘La Belle Dame sans Merci’, 143–6 in Catullus and Dante, 78 ‘Lamia’, 117–18, 120 exorcism, 104–5 ‘Ode on a Grecian Urn’, 121 female magic, 43–5 Kingsley, Charles, Two Years Ago, 210 in Macbeth (Shakespeare), 96–9 314 Index magic – continued and The Gaze of the Gorgon (Harrison), in Othello (Shakespeare), 100–1 223 protection from, 42–3 and The Head of Medusa (painting, and religion, 51–2 Flemish School), 122 in Shakespeare’s plays, 95 and Heart of Darkness (Conrad), and words, 46–8, 77–8, 193–4, 239–40 216–17 see also evil eye and ‘In Between the Sheets’ magnetism, 53–6 (McEwan), 248 in Frankenstein (Shelley), 162 and Macbeth (Shakespeare), 97 in A Midsummer Night’s Dream and ‘Medusa’ (Plath), 219–21 (Shakespeare), 110, 111 medusamorphoses, definition, in The Rime of the Ancient Mariner 67–70 (Coleridge), 141, 142, 143 and ‘On Leonardo’s Head of Medusa’ in Romeo and Juliet (Shakespeare), 107 (Lee-Hamilton), 126–7 in Shakespeare’s plays, 95–6 and ‘On the Medusa of Leonardo da see also animal magnetism; attraction/ Vinci’ (Shelley), 121–8 repulsion; charisma and Othello (Shakespeare), 103 magnetism of narratives, 135–6 and Otherness, 209–10 ‘La Belle Dame sans Merci’ (Keats), and The Picture of Dorian Gray (Wilde), 143–6 199–202 The Rime of the Ancient Mariner and The Rime of the Ancient Mariner (Coleridge), 136–43 (Coleridge), 138 see also attraction/repulsion and Salome (Wilde), 206, 207, 208 Malleus Maleficarum (Kramer and and ‘The Statue of Medusa’ Sprenger), 38, 45 (Drummond), 80–5 Matthews, Charles Peter, 130 and visual/verbal interplay, 120 McDonald, Beth, 142, 189 ‘Medusa’ (Plath), 219–21 McEwan, Ian medusae (jellyfish), 138–9, 209, 220 ‘Butterflies’, 242–6 medusamorphoses, definition, 67–70 ‘In Between the Sheets’, 246–51 Medusa Touch, The (film), 224 on 9/11 attacks, 226 Méduse (ship), 210 Saturday, 238–40 Mesmer, Franz Anton, 54–5 McGann, Jerome, 126 mesmerism, 55–6, 167 McLuhan, Marshall, 237 and Dracula (Stoker), 169, 173–4, media technologies, 222 181–2 in Dracula (Stoker), 180, 183 and Heart of Darkness (Conrad), 214 and The Falling Man (Drew), 228 and The Picture of Dorian Gray (Wilde), in ‘Medusa’ (Plath), 220 192, 193 Medusa, 15–16, 63–7 ‘Mesmerism’ (Browning), 167 and Antony and Cleopatra Meyer, Stephenie, Twilight, 222 (Shakespeare), 106 Middleton, Thomas, 92 and ‘Aspecta Medusa’ (Rossetti), Midsummer Night’s Dream, A 128–31 (Shakespeare), 109–13 and ‘Butterflies’ (McEwan), 244 Miller, J. Hillis, 35 and The Climax (Beardsley), 208 mirrors, 29 and The Contrast (Rowlandson), 69 in Dracula (Stoker), 170 and The Divine Comedy (Dante), 71–6 in Lady Lilith (Rossetti), 133, 134 and Dracula (Stoker), 171, 177–8, 179, in Macbeth (Shakespeare), 98 180, 187 in ‘On the Medusa of Leonardo da Freudian reading, 57, 66 Vinci’ (Shelley), 126–7 Index 315

in The Picture of Dorian Gray (Wilde), narrators, unreliable, 28 199 in ‘Butterflies’ (McEwan), 242–3 Mitchell, W. J. Thomas, 15, 60 in Dracula (Stoker), 179 Monk, The (Lewis), 147, 148–9 in Frankenstein (Shelley), 165 Montaigne, Michel de, 48, 54–5, 85 natural magic (magia naturalis), 52–3 Moog-Grünewald, Maria, 32 Nell, Victor, 33, 35 moon, the neuroaesthetics, 22 in Dracula (Stoker), 172 Newman, John B., 55–6 in Frankenstein (Shelley), 163 Newman, Paul, 214 in A Midsummer Night’s Dream New Women, 115 (Shakespeare), 111 in Dracula (Stoker), 176 in The Rime of the Ancient Mariner and Lilith, 134 (Coleridge), 141–2 Nietzsche, Friedrich, 17, 135 in Salome (Wilde), 204–5 9/11 attacks, 224–6 Moreau, Gustave, The Apparition Nishimata, Takayuki, 28 (painting), 202–3 More, Hannah, ‘The Bas Bleu’, 161 Oatley, Keith, 20 Moretti, Franco, 186 ‘Ode on a Grecian Urn’ (Keats), 121 movement, 121 ‘On Leonardo’s Head of Medusa’ (Lee- see also systolic–diastolic pulse Hamilton), 126–7 Munday, Anthony, 85, 86 ‘On the Medusa of Leonardo da Vinci’ mysterium tremendum et fascinosum, 51 (Shelley), 121–8 myth, 61–7 oral tradition, 15, 33 see also individual mythical beings see also storytelling Orpheus, 62, 144 Narcissus, 62–3 Othello (Shakespeare), 99–103 and Frankenstein (Shelley), 158 Otherness, 209–11 and The Picture of Dorian Gray (Wilde), Otto, Rudolf, 51 191, 192, 197, 199, 201 Ovid, 62, 63, 64, 68 and ‘The Statue of Medusa’ (Drummond), 82 panopticon, 166–7 and technology, 228 Paracelsus, 160 narrative competence, 29–30 Parasite, The (Doyle), 167–8 see also knowledge, cultural Pater, Walter, 122, 200–1, 202 narrative compulsion Perseus, 67 in Extremely Loud and Incredibly Close Petrarch, sonnets, 78–9 (Foer), 229 phallic symbols, 43, 57 in Frankenstein (Shelley), 165 photographs, 224, 225–8 in Heart of Darkness (Conrad), 218 ‘picture act’ theory, 13, 16, 68 in The Rime of the Ancient Mariner Picture of Dorian Gray, The (Wilde), see (Coleridge), 140, 142, 143 Wilde, Oscar, The Picture of Dorian narratives of fascination, see fascination, Gray narratives of pictures, 13, 31–2, 33 narrative strategies and 9/11 attacks, 224, 225–8 in ‘Butterflies’ (McEwan), 243–6 see also visual/verbal interplay in Dracula (Stoker), 185–8 Pictures of Our Minds (exhibition, in Falling Man (DeLillo), 229–38 Schirner), 233 in Frankenstein (Shelley), 164–5 plague, 87–8, 93, 109 in Heart of Darkness (Conrad), 215–16, see also infection 217–18 Plath, Sylvia, ‘Medusa’, 219–21 316 Index

Pliny, 38 Aspecta Medusa (drawing), 130–1 Poe, Edgar Allan, ‘The Fall of the House ‘Aspecta Medusa’, 128–31 of Usher’, 152 Lady Lilith (painting), 133–5 Pollock, Jackson, 16 ‘Lilith’, 131–5 Porta, John Baptista della Rowlandson, Thomas, The Contrast on eyes, 39–40, 41, 42, 43, 44 (etching), 69 on flattery, 46–7 Rudy, Jason R., 15 on magic, 49 on magnetism, 53–4 safety of the reader/spectator, 34–5, 61 on the moon, 111 and Antony and Cleopatra portraits, 33 (Shakespeare), 105 Praz, Mario, 115, 121 and ‘Aspecta Medusa’ (Rossetti), presence, 16, 20, 35, 165, 222 129–30 Prest, Thomas Preskett, Varney the and Dracula (Stoker), 179, 185 Vampire, 170 and exorcism, 104 Priestley, Joseph, 161 and Lady Lilith (Rossetti), 133 protective strategies, 42–3 and ‘Lilith’ (Rossetti), 135 see also apotropaic devices and Ian McEwan’s work, 245–6 proximity, see distance and 9/11 attacks, 227 Prynne, William, 87 and ‘On the Medusa of Leonardo da Punter, David, 145, 172 Vinci’ (Shelley), 125–6, 127 and Othello (Shakespeare), 103 Radcliffe, Ann, 123 and Salome (Wilde), 207–8 Raft of the Medusa, The (painting, and Shakespeare’s sonnets, 80 Géricault), 210–11 and ‘The Statue of Medusa’ Rankins, William, 86 (Drummond), 83–4 reader response, 18–24, 31, 34–5, and Twelfth Night (Shakespeare), 92 68, 79 Said, Edward, 217 in Falling Man (DeLillo), 233–4 Saladin, Linda, 135, 204, 205, 208 see also response-ability Salome (Wilde), 203–8 reading, dangers of, 34–5, 91, 147–8 Sandman, The (Hoffmann), 151 re-enchantment, 14, 69 Sarbin, Theodore, 34 in Saturday (McEwan), 239–40 Scaliger, Joseph Justus, 40 religion, 50–2 Schirner, Michael, Pictures of Our Minds repeatability of fascination, 241 (exhibition), 233 repulsion, see attraction/repulsion Scot, Reginald, The Discoverie of response-ability, 24 Witchcraft, 38–9, 44, 45 in Frankenstein (Shelley), 155, 166 Scott, Walter and Ian McEwan’s work, 238, Guy Mannering, 150 244–7 on the supernatural, 150 and 9/11 attacks, 225, 238 Seeber, Hans Ulrich, 12–13, 21, 27, in The Picture of Dorian Gray (Wilde), 190–1, 213 194 Segal, Charles, 77 reverse colonialisation, 170 Senf, Carol, 186 Richardson, Alan, 153–4 September 11 attacks, 224–6 Rime of the Ancient Mariner, The serpents, 45–6 (Coleridge), 136–43 in Dracula (Stoker), 178 Romeo and Juliet (Shakespeare), 37, and femmes fatales, 116–20 106–9 in Heart of Darkness (Conrad), 213 Rossetti, Dante Gabriel and hypnosis, 56 Index 317

in ‘Lilith’ (Rossetti), 132 Stevenson, R. L., 31 and Medusa, 65 Strange Case of Dr Jekyll and Mr Hyde, in A Midsummer Night’s Dream 162–3 (Shakespeare), 110–11, 112 Stimmung, 17–18 in The Monk (Lewis), 149 Stoker, Bram, Dracula, 168–89 in The Rime of the Ancient Mariner and erotic fascination, 174–8, 184–5 (Coleridge), 139–40 and mesmerism, 168–71, 172–4, in Salome (Wilde), 206 181–3 Shaftesbury, Edmund, 58 and modern technologies, 180, 183 Shakespeare, William narrative strategies, 185–8 Antony and Cleopatra, 105–6 and voyeuristic reading, 172, 179, Hamlet, 96 187–8 Macbeth, 96–9 storytelling, 15, 33 A Midsummer Night’s Dream, 109–13 in Frankenstein (Shelley), 165–6 Othello, 99–103 in The Picture of Dorian Gray (Wilde), Romeo and Juliet, 37, 106–9 193–4 sonnets, 79–80 in The Rime of the Ancient Mariner The Tempest, 95 (Coleridge), 142–3 Twelfth Night, 89–92 in Shakespeare’s plays, 99–100 The Winter’s Tale, 94–5 see also magnetism of narratives; Shelley, Mary, Frankenstein, 154–66 narrative strategies and attraction/repulsion, 156–8 Story, William W., 37–8 and duality, 162–3 Stott, Rebecca, 215, 216 and electricity, 158–61 Strange Case of Dr Jekyll and Mr Hyde narrative strategies, 164–5 (Stevenson), 162–3 and the sublime, 154–5 Stuck, Franz von, The Sin (painting), 116 Shelley, Percy Bysshe, ‘On the Medusa of sublime, the, 152–4, 222 Leonardo da Vinci’, 121–8 in Frankenstein (Shelley), 154–5 Simmel, Georg, 59 suggestion, 48 Sin, The (painting, Stuck), 116 supernatural, use of, in Gothic fiction, snakes, see serpents 150 soft fascination, 28–9 Swinburne, Algernon Charles, 133 sonnets systolic–diastolic pulse, 162 Petrarch, 78–9 Rossetti, 132–3 taboos, 16, 60–1 Shakespeare, 79–80 in ‘Lilith’ (Rossetti), 133 tradition, 132–3 in Ian McEwan’s work, 240, 245, 247 sound, 15, 18 and 9/11 attacks, 225–8 Southey, Robert, ‘Cornelius Agrippa’, in Salome (Wilde), 207–8 160 and theatre, 96 Spenser, Edmund, 37 see also voyeuristic reading spiritus, 39, 42, 54 Tan, Ed, 21 and theatre, 85 Taylor, Rabun, 65, 67 and Twelfth Night (Shakespeare), 89 technological media, 222 Sprenger, Jacob, Malleus Maleficarum, in Dracula (Stoker), 180, 183 38, 45 and The Falling Man (Drew), 228 Stanley, Henry M., 211 in ‘Medusa’ (Plath), 220 stasis, 121 Tempest, The (Shakespeare), 95 ‘Statue of Medusa, The’ (Drummond), terror, 123–4 80–5 terror attacks, 9/11, 224–6 318 Index theatre voice, 46–7 and infection, 87–8 voyeuristic reading, 149 metatheatrical devices, 112 in Dracula (Stoker), 172, 179, 188 moral criticism of, 85–7, 106 in Frankenstein (Shelley), 156, 164–5 and transgression, 96 and 9/11 attacks, 225–8 see also individual plays see also taboos Todorov, Tzvetan, 152 trauma, 30, 51, 234, 235 War of the Worlds, The (Wells), 208–9 Trilby (Du Maurier), 182 Weber, Max, 57–8 Tumbling Woman (sculpture, Wells, H. G., The War of the Worlds, Fischl), 228 208–9 Twelfth Night (Shakespeare), 89–92 Wells, Stanley, 92 Two Years Ago (Kingsley), 210 Werckmeister, Otto, 60 Weyand, Björn, 12 uncanny, the, 151, 152 Wilde, Oscar unreliable narrators, 28 The Picture of Dorian Gray, 11, in ‘Butterflies’ (McEwan), 242–3 190–202; aesthetics of fascination, in Dracula (Stoker), 179 190–6; ethics of fascination, 196–9; in Frankenstein (Shelley), 165 and Medusa myth, 199–202 Salome, 203–8 Varney the Vampire (Prest), 170 on war, 61 Virgil Winter’s Tale, The (Shakespeare), 94–5 Aeneid, 72 witchcraft, see magic Eclogues, 42 women, see femmes fatales; gender; New visual imagery, 13, 31–2, 33, 224, Women 225–8 words, magic powers of, 46–8, 193–4, see also visual/verbal interplay 239–40 visual/verbal interplay, 13 World Trade Center attacks, 224–6 in ‘Aspecta Medusa’ (Rossetti), 130–1 and femmes fatales, 120 ‘yellow book’, 194, 202 in The Gaze of the Gorgon (Harrison), 223, 224 Zeki, Semir, 22 in ‘Lilith’ (Rossetti), 134, 135 Zunshine, Lisa, 240 and 9/11 attacks, 224–6