de género, superación. Palabras clave traumática. experiencia esta de supervivientes hacia empatía y desarrollar testigos ser pueden los espectadores manera, género. de esta violencia De la de multitemporal trauma sobre el y reflexionar testigo ser puede donde audiencia la simbólico espacio un como funciona película la que afirmamos Además, contemporáneas. las en como mujeres victorianas las en tanto impacto ysu género de violencia la de traumática experiencia la tratar para compulsiva– repetición yla los muertos de doble, regreso el (Freud 1919) «lo de siniestro» tropo el –el que explota representaciones principales ysus Toro del Guillermo de Peak Crimson neovictoriana película que la defendemos artículo, este En ysexual. infantil abuso género, oel opresión yla de violencia la como einsidiosos, personales más otraumas guerras, naturales, xix siglo del traumas abordar al temporal duplicidad una muestran neovictorianas trauma de narrativas Las Resumen working through. Keywords experience. traumatic of this survivors towards empathy anddevelop witness bear can way, That of violence. viewers gender trauma the multitemporal on reflect to and witness bear can audience the where space symbolical as a functions film the I contend that women. Furthermore, contemporary and Victorian on both impact its and of violence gender experience traumatic the to address compulsion– repetition and dead of the 1919) return double, the the –i.e. representations main its and (Freud uncanny» of «the trope the exploits that narrative (2015) a trauma as constructed is Toro’s del Guillermo that Peak Crimson Iargue neo-Victorian film article, this In abuse. sexual and oppression, and or violence child domestic as such traumas, insidious and personal or more wars, catastrophes, natural including atpresent, prevail still that traumas century nineteenth- addressing in duplicity atemporal display of trauma Neo-Victorian narratives Abstract CRIMSON PEAK CRIMSON TORO’S DEL GUILLERMO : neo-Victorianism on screen, trauma narratives, the uncanny, gender violence, violence, gender uncanny, the narratives, trauma on screen, : neo-Victorianism DE GUILLERMO DEL TORO COMO UNA NARRATIVA DE TRAUMA DE NARRATIVA UNA COMO TORO DEL GUILLERMO DE Revista de Filología de Revista : neovictorianismo audiovisual, narrativas de trauma, lo siniestro, violencia violencia lo siniestro, trauma, de narrativas audiovisual, : neovictorianismo FICTIONALISING THE UNSPEAKABLE: THE FICTIONALISING ( PEAK LO INDECIBLE:FICCIONALIZAR CRIMSON que aún están presentes en la actualidad, incluyendo catástrofes incluyendo catástrofes actualidad, la en presentes están que aún AS A TRAUMA NARRATIVE* ATRAUMA AS DOI: https://doi.org/10.25145/j.refiull.2021.43.11 DOI: Universidad de Valencia de Universidad , 43; julio 2021, pp. e-2530-8548 213-232; julio , 43; ISSN: (2015) está construida como una narrativa de trauma trauma de narrativa (2015) una como construida está Dina Pedro 2015 (2015) )

REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 213 REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 214 Pl: Prof. Rosario Arias). Pl: Prof. Rosario 12017-P; (FF Competitivity and of Economy, Industry Ministry Spanish bythe funded Culture», and Fiction of Contemporary Understanding Towards a Dynamic «Orientation: project: research “Orion” 17/03064) FPU the (Ref. and Universities and of Science Ministry Spanish bythe funded in contemporary societies. This way, the director encourages the audience to reflect to audience reflect the way, encourages This director societies. the contemporary in prevalent still of gender experience violence its after-effects, present and traumatic of Peak Crimson case the In accounts. by silenced hegemonic have been historical that stories ofthe those Peak of Crimson villains 2014: 3), true the who are siblings, of Sharpe the case the in as Toro’s Del in show of morality alack that Clark and (McDonald characters films human the it usually is monsters. fact, In evil than helpers, rather their actually are they that realises eventually and ghosts, female with communicate can Edith in trope Toro Del supernatural characters. exploits this also 2014: 3), helpers of and Clark main the and (McDonald guides as but function population» human by the alienated and «misunderstood are that characters include supernatural films Both of children. eyes the WarCivil through seen companion, Backbone Devil’s The movies Spanish-language the including films, perspective. of Peak Crimson focaliser the and narrator the both is Edith because so is This itself. film the narrative: trauma own horrors into these her all she translates article, this in Iargue as survivor, and, female only the remains Edith end the of film, At the plans. siblings’ perfidious from the to protect Edith try and apparitions ghostly women as dead from the come back murdered These business. family the in them invest and fortunes their to keep as them, so later killed women and before Edith foreign affluent other three married mother own (Pedro of 2020). their previously hands at had the Thomas Second, to endure had they for abuse the mechanism acoping as were children, they since relationship incestuous involved have been siblings an in Sharpe the First, secrets. family several hiding are they where that she soon Hall, discovers Allerdale England, rural in estate family to their sister, his Sharpe, and Lucille Thomas moves with Edith foreign capital. with business to family save the trying is that aristocrat British impoverished an one of her Sharpe, suitors, marries Sir Thomas she hastily death, York. her New father’s from Buffalo, After hailing family novelist from a wealthy American aspiring an Cushing, follows Edith film The England. Victorian in family nuclear dysfunctional the within taboos and Torodel traumas addresses that . Moreover, in these Gothic historical films, Del Toro Del to recover past the films, . Moreover, rewrites historical Gothic these in Del Toro has been internationally acclaimed for other Gothic and historical historical for and Toro otherDel Gothic acclaimed internationally been has Peak Crimson * Research for this article was conduced with the financial aid of a predoctoral grant grant of apredoctoral aid financial the with conduced was article this for Research Pan’s Labyrinth (2015) Guillermo director by Mexican aneo-Victorian is film , its Victorian setting allows Del Toro Del allows ever- the , its setting Victorian to address (2006), which are Gothic re-imaginings of the Spanish of Spanish the re-imaginings Gothic are which (2006), INTRODUCTION , and the audience follows the story through her through story follows audience the the and Crimson Peak Crimson (2001) its and , where to tackle the traumatic experience of gender violence. I argue that that of gender experience violence. I argue traumatic the to tackle exploits of uncanny trope the the that narrative atrauma as Toro film the constructs of Peak Crimson reading aclose through and background, theoretical this 2009). Against Pulham and (Arias spectrality and oftrope haunting its application Gutlebenand 2010), to and neo-Victorianism (Kohlke the through 2002)– (Vickroy experience trauma helping in access audience the narratives trauma phenomena on uncanny (Freud 2001theory, [1919]), particularly role the of as well as –Freudian studies of trauma framework Iintroduce the Next, studies. Victorian (Scott 2015). it into a«pastiche» of turning risk the with aesthetics, Toro’s Del actually is exploitationone flaws of film’s excessive of the Victorian biggest However, that wife. abused the some and claim attic critics the in madwoman the particularly were texts, Victorian ignored in that characters stories of marginalised fore to to the bring the and referents– literary original the with not familiarised be –who audience might for a contemporary classics Victorian update to both is collage cinematic of this construction the behind purpose The transformations. postmodern Peak of (2014: 12). Crimson case the is re-contextualisation» This and meaning new Toro Del texts, referent his order blends in or «alters, canonical to produce up-turns Heights Brontë’s of Emily evocative England, atmosphere rural from northern Eyre Brontë’s Charlotte stories depicted both resembles the in uncannily so which of House of the Usher» (1839); of presence husband’s the prior haunting the wives, Poe’s Allan «The from Edgar Fall mansion crumbling the plotline and incestuous 12). Peak Crimson fact, In (2014: particular in tradition Gothic Victorian the and general, in literature Gothic by inspired all are which films, his in culture popular and high of both knowledge of dead. the return the especially, of repetition and, compulsionprocess of trauma (Freud 1919),exploitation uncanny» of of trope the «the double, the the particularly the through perspectives Gothic and contemporary from both issue timeless on this can bear witness to it. witness bear can audience the that so Hall, Thomas’sand have Allerdale endured in wives previous she that pain the whereby she articulates narrative, trauma Edith’s as constructed be the two founding texts of the genre. However, of genre. the texts 1990s the not founding it until that was two the be Woman Lieutenant’s (1969), Fowles’s French The John and considered to are which 1960s, to the publicationback (1966) the Rhys’s Sea of with Jean Wide Sargasso phenomena. dates genre The other cultural and arts music, (video)games, visual the literature, in of long century the nineteenth re-imaginings contemporary entails that (1847) Daphne du and Maurier’s Rebecca , which is constructed as a cinematic collage of Victorian literary referents and of literary Victorian collage acinematic as constructed is , which (1847). to references intertextual However, merely incorporating than rather In the following pages, I first provide a brief contextualisation of neo- provide abrief contextualisation Ifirst pages, following the In Toro Del assert, Clark Roger immense and McDonald shows Keith an As Neo-Victorianism is a recent cultural project stemming from postmodernism from postmodernism project stemming Neo-Victorianism a recent is cultural VISUAL NEO-VICTORIANISM VISUAL echoes several Victorian Gothic classics, mainly the the mainly classics, Gothic Victorian several echoes (1938); or oppressive the Gothic and , I then examine how Del examine , Ithen Crimson Peak Crimson Wuthering Jane Jane is is

REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 215 REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 216 Eyre (2017-), ones, specifically gender violence within the family. the gender violence within ones, specifically of case to the be appears this article, this in Iargue As or gendered traumas. family nuclear dysfunctional the economic and changes, – e.g. social century nineteenth the in have originated might that anxieties contemporary address can audience the where space afictional offers and periods, contemporary and Victorian the between relationship adialogical it establishes as perspective, ethical from an deeply enriching is aspect latter This fears. and for anxieties Victorian would stand –which ghosts Victorian on present our by resurrecting concerns no other to help reflect like us phenomena –neo-Victorian serves cultural Gothic– combination two the of these to look back to the past for answers to our precarious modern situation to precarious our for answers to look past to the back Peak of Crimson case the in as neo-Gothicism, Neo-Victorianism with intersects often Ayres 2020: 6). and (Maier fears» and anxieties «elucidate presentus our cultural to horrors, help as so historical our order in to resurrect past to the return reflexively neo-Victorian (neo-)Gothicism’s follows in fiction self- both they that in footsteps present the (2010: 6). and doing so, In approach» past or for the concern both adopt a«dual they as periods, contemporary and Victorian both address narratives (2018: audiences for contemporary 1). comprehensible and more be attractive can that it alanguage into and amedium neo-Victorian show works screen apresent by translating to need reinterpret past the Holmes –e.g. series of TV case the especially is producing This them. currently are Studios, or Amazon HBO Netflix, like platforms, digital and networks TV as well as industry film the (2018: 1) Louttit of adaptations, Victorian acclaim due popular to the that, claim Erin and Louttit Chris or games. video series TV films, including screens, small the sides of Atlantic. both the Jane Austen’s (1812) Prejudice and Pride 1995, in hit on amassive became which BBC of adaptation production acclaimed the of popularly as the well as 2002–, Byatt’s publication to the of A.S. thanks success, neo-Victorianism mainstream achieved Re-Imagined Nineteenth Century the in Degeneration and Violence Horror, Gothic. 2012. Neo-Victorian eds. Gutleben, Christian Crimson Peak Crimson (2011), Toro’s del Guillermo Peak Crimson , in order to make real our (post)postmodern anxieties through fiction, but also but fiction, also through (post)postmodern our anxieties real order, in to make (2020). Antonija Primorac suggests that the increasing production of (2020). these increasing the that Antonija Primorac suggests (1990)Possession: ARomance its subsequent on adaptation in screen –and Furthermore, Louisa Hadley asserts that neo-Victorian visual and textual textual and neo-Victorian that visual asserts Hadley Louisa Furthermore, big on the and both proliferating neo-VictorianismIndeed, increasingly is 1 (2019-) Row Carnival orDracula

For further information on neo-Victorian Gothic fiction see Kohlke, Marie-Luise and and Marie-Luise Kohlke, see fiction Gothic on neo-Victorian information For further Penny Dreadful Penny , since the traumas portrayed in the film mirror our contemporary contemporary our mirror film the in portrayed traumas the , since (2014-2016), (2014-2016), . Amsterdam: Rodopi. . Amsterdam: Frankenstein’s Chronicles Jane Fukunaga’s Jane Cary (2020) films– –and Enola (2015) Enola original itself, or Netflix (2015-2017), (2015-2017), 1 . Indeed, . Indeed, Taboo

fiction highlights interconnections between acts of aggravated historical violence historical of aggravated acts interconnections between highlights fiction «neo-Victorian ones, since contemporary as well as traumas, nineteenth-century of catharsis abelated neo-Victorian fact, that in are, works argue Gutleben further and delayed «working-through» are-invented as of fiction, perspective from the but also disasters, ofstudy its actual the through trauma on historical point of research progressively become acentral Gutleben, has era Victorian the Christian and Kohlke to Marie-Luise according for incipient key gender and equality. Indeed, was that feminism period a historical century, itnineteenth the in of gender violence, contextualises trauma and insidious [...] (2020: 11). pain» in bodies are of Peak Crimson case the is This bodies «female that orientation» to acknowledge and sexual and gender, class race, to order later in coined more«to be was pertaining inclusive of experiences trauma» of «insidious term white the men, experiences that so the and tragedies large-scale to either associated been traditionally has theory trauma that claims Claassens Moreover, experiences. on their Juliana L. reflect and characters traumatised the with empathise can they that so trauma, but to audience access the enables rather suffering, of human it not aspects does as merely exploitpurpose, dramatic the 2002: 2).(Vickroy Peak Crimson Icontend neo-Victorian the that film extremis» in of humanity «imaginings with engagement to develop asympathetic viewers and readers to allow is but goal their narratives, of trauma aspects sensational exploited often repression, the and has (2002: 3). others» among Popular culture resistance dissociation, denial, and knowledge simultaneous «silence, including experience, of traumatic features reproduce main the also narratives contends these Vickroy further abuse. domestic world violence of colonialism, impact or wars, sexual the including centuries, two last the in traumas collective and personal to both (2002: 1)– experience» witness traumatic help access bearing that readers in narratives narratives. trauma interest in and public in awareness increase 1990s, an the and with coinciding 2011: 9). 1980s the took during place humanities the in studies of trauma rise The (Onega Ganteau Schooland of the Deconstruction and Historicism New feminism, theories, Freudian including schools, critical on several drawing while narratives, of Holocaust analysis to the studies of trauma theories to apply founding the first were the They LaCapra. or Dominick Felman Shoshana Caruth, Cathy including pioneering work of Yale to the agroup belonging of School of scholars Deconstruction, reenactment, or acting out, of that disabling dissociation» (2001: 42). dissociation» disabling of that out, or acting reenactment, [...] a may that counteract, amanner in representation and affect or rearticulate articulate to effort «the entail would latter the experience, traumatic the repeat compulsively to condemned therefore, is, and past» by the or possessed «haunted be to seems patient traumatized the former the with Laurie Vickroy points to the crucial role of trauma narratives –«fictional –«fictional narratives role of trauma Vickroy points crucial to the Laurie to the back dates humanities to the studies applicationThe of trauma 2

LaCapra establishes a distinction between «acting out» and «working through». While While through». «working and out» «acting between adistinction establishes LaCapra TRAUMA STUDIESTRAUMA 2 in neo-Victorianism in (2010: 1). and Kohlke , as it tackles the the it tackles , as serves this this serves

REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 217 REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 218 firmly believed in the existence of ghosts ever since her mother passed away. her since ever mother passed of ghosts the In existence the in believed firmly Peak Crimson In by them. triggered fact, in are, or traumas, to related closely childhood are when beliefs superstitious especially distinguishable, clearly not are always experiences of uncanny types two these (Freud of dead the 2001 world, return [1919]: 249). the including real the in However, once again to confirmed be seem beliefs primitive impressions, or when discarded our by new re-enacted are traumas either sensations when childhood repressed uncanny (2001repression, recurs [1919]: 241). but eventually Most people to experience seem of aprocess through minds from our estranged been has that familiar something but by rather or new strange, by something not is triggered that experience an is horror» and (2001 dread [1919]: 219). arouses «to what associated occurrence It by Freud an as defined was uncanny The trope. this domestic violence through of Peak Crimson case the 2009). is This Pulham and (Arias anxieties contemporary and Victorian both phenomena away to address as of gender violence periods. from both survivors by trauma experienced traumas to the witness bear can audiences contemporary where space afictional as and experience, of traumatic terms in us and Victorians the between gap a historical bridges that text a cinematic as should understood be film the that Iargue nature. of same the evoke present anxieties that gendered traumas Peak Crimson 2009: xv). Pulham and (Arias issues contemporary and Victorian about both reflect present our us order in permeates to apparition make that century Consequently,Victorian. nineteenth- neo-Victorian interpreted be as could fiction conceptions the established our it and defamiliarises characters; and Victorian genres it events; resuscitates it reinterprets historical appropriates and tropes Victorian culture; a double its of imitation of in nineteenth-century Victorian literature neo-Victorianism Indeed, represents strange». made familiar or the spirits; and ghosts or, animate; dead conversely, of seemingly seemingly the nature death-like the phenomena (2001 [1919])include double; «the of the repetition; animation the vu ofproduces déjà a sense neo-Victorianism that argue Patriciaphenomenology. Pulham and Arias Rosario of uncanny terms in neo-Victorian in especially fiction, spectrality and haunting Gutleben 2010: 3). and (Kohlke research contribute trauma to current our directly and sufferings contemporary own our mirror arguably representations of trauma horrors, neo-Victorian gendercontemporary Thus, including violence abuse. or child evoke explores more that situations but insidious private also and trauma, historical (2010: 3). centuries» twenty-first and twentieth Neo-Victorianism not only addresses into well the resonating still aftershocks political and long-term their and cultural As noted above, neo-Victorian frequentlyAs exploits uncanny fiction Gothic how I determine into pages consideration, following the this in all Taking trope of the with longMoreover, associated been has theory trauma CRIMSON PEAK CRIMSON is constructed as a trauma narrative that explores nineteenth-century explores nineteenth-century that narrative atrauma as constructed is on readers that is uncanny in nature. Freud’s nature. in uncanny uncanny is on that readers (2015) NARRATIVE ATRAUMA AS , Edith, the female protagonist, has has protagonist, female the , Edith, , which depicts the horrors the depicts of, which that she was still very little the first time she her saw time spectre: first the little very still she was that she explains film, voice-overs of the her in two first Edith’s is which fragment, next lack of maternal love and guidance can be further demonstrated by the fact that that fact by demonstrated the further be can love guidance of and maternal lack to. refers Edith’s name that nor what know audience neither the Edith film the in snow a blood-red the with autochthone huge. However, stains clay red point at that of way the the because Peak» «Crimson as known colloquially is Hall, Allerdale called originally estate, Sharpe The of England. north the residence in Sharpe the Toro (Del Peak» of Crimson beware comes, 2015a: 00:03:03), reference to adirect time when the «My child, Peak: Crimson about her called aplace daughter warns she cases, both In Sharpe. later Sir when Thomas and she meets only achild, was when Edith appears first ghost This ahead. lie that protectand her dangers from the to warn tries spirit that form of the herin mother’s aguardian as who acts ghost, later abandonment compensated her. was in maternal asense This protection triggered past. her traumatic work she might through that narrative, of Peak Crimson perpetrator main –the Lucille when she kills It end the of film, not experience. is the on until that based stories ghost later writes form to and of her the aghost, in presence attached feels still she not since overcome has her of film, Edith the mother’s most part during death (2001 other to interests pursue free completed, is ego [1917]: 252). the that Iargue been lost has object from the oneself of process love,detach but grieving when the [1917]: 244). to needed is of period time indeterminate an of mourning, case the In (2001 self-respect and self-esteem in adecrease entails outside also latter reality, the (1957to life» [1917]: 243). former the would imply of aloss the interest in While attitude normal from the departures «grave involving both or melancholia, mourning to overcome.needs For Freud, of areaction of loss the aloved either cause one can she that mourning unresolved present; Edith’s an in a persistent past force from the adult– she proves is an that later as and when she achild is –first film the in twice her 2009). mother’s that fact The appears Pulham ghost and present our in (Arias us haunts how and it still tragedy of represent apast prevalence They the trauma. a past representation of incorporeal considered to an are be –which ghosts with interactions of her many first the also was and achild, her as traumatised that overwhelming and frightening so was event that her point an her mother’s in that life; aturning was loss reflects «goodbye». arguably and Hence, this kisses» «parting «black cholera», «casket», –e.g. mourning and to related death vocabulary sensorial and emotional contains and discourse– afragmented as described be up might of short sentences –which made is 2020: 330). speech above, Edith’s example the McNamara In and (Busch victim’s to the discourse aspects incorporation of the or emotional and sensory representations, some of most common the ones include repetition, fragmentation words. That is, until the night she came back (Del Toro, (Del back she came 2015a: 00:01:02). night the until is, That words. No last No goodbyes. kisses. no were to parting be me not There to look. asked casket, her. ordered aclosed Father So my taken mother’s. had cholera was Black old. It 10 one Isaw Iwas years time much Iknow. first The This real. are Ghosts Indeed, the lack of a mother figure who could offer Edith guidance and and guidance Edith offer who could of amother lack figure the Indeed, and traits of possible linguistic range awide has verbalisation trauma While – and constructs her experience as a trauma atrauma as her experience constructs – and

REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 219 REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 220 communicate their stories to others so as to achieve a sense of social acknowledgement. acknowledgement. of social asense to achieve stories to as so others their communicate have on of audience Peak the Crimson might narrative trauma Edith’s that effect the is there otherstories. On hand, the –i.e. her ghost verbalisation her trauma with empathise and read can that story the within addressee an to find needs Edith one On the hand, film. the empathy in of levels possible diegetic two There are experience. to trauma susceptibility own their to audience experience the enables arguably and identification, unrestrained and neo-Victorian LaCapra’sThus, hinders trauma fiction about concerns vicarious (2010: 18). to traumatisation» vulnerability own our other-as-self by acknowledging the and encounters self-as-other the reciprocally and victim suffering the of) place in (rather in than «ourselves we see that so characters, historical with connection empathic to audience develop the an contend neo-Victorian allows that fiction by it (2001: 40). traumatized be might they otherwise However, Gutleben and Kohke or appropriating with survivor’s the without experience, completely identifying reader’s the as to need develop empathy defined be could which unsettlement», process. healing the mother’s it attempt to so start to and work an in through ghost her with experience her past to reconstruct meant stories are these that I argue published. them to get tries unsuccessfully stories and to ghost write when she starts her adult life, during happens experience her traumatic transmit and understand (2010: 28). of trauma» of healing Edith and case the transmission, In «understanding, of the generation, act an creating would entail narrative a trauma Hence, witnessing. secondary and its articulation it through to only comes life as (2014: 131).pain process, a performative is Gutleben, and trauma for Kohlke fact, In (2014: 130),about trauma» their to work through victims the it allow since might of neo-Victorian of to capacity writing «explore the possibility the fiction stresses also 1992b: 69).(Laub Gruss Susanne verbalisation, of traumatic theories on his Drawing to silence resort might they otherwise overcome trauma, help their survivor the can that witness empathic an (1992a: 78). of having importance the stresses also Laub of past the ghosts from the freed stories, buried own their to to know get as so experiences, painful their to need tell» imperative have «an survivors traumatised to Dori Laub, According adult woman. of when she them an sense is to make order in them point to the where to Edith, verbalise she needs deeply traumatised trauma verbalising in The of writing role Thomas. she marries after mother for Edith actual of an lack compensate the that figures maternal should considered be as ghosts female these that her about siblings’ intentions. to the Iargue warn Thus, appears her never father, with connection ghost astrong Even she had his plans. though to save her siblings’ pernicious from the try that females all are wives– mother and Thomas’s mother –her own and film the throughout she meets that ghosts the all Taking all this into consideration, trauma victims need to find a way to to need find into victims consideration, this trauma all Taking «empathic an to need establish the highlights LaCapra lines, same the Along Her that events mother’s are aghost her as and subsequent death return . , the need to need the the end, Edith is the one that closes the book of her own life, which is arguably arguably is which book of the her life, closes one own the is that end, Edith the Toro (Del Cushing» M. 2015a: 01:51:23).Edith contends, in Galiné Marine As one, showing a book closing and revealing the following words: following « the revealing one, and abook closing showing first the mirrors Moreover, survivor. only female the of film scene the as last the well as focaliser, and she its narrator is that fact by demonstrated the is This Hall. Allerdale in experiences her traumatic she through works which through narrative Peak Crimson that Iargue aresult, As from Lucille’s to protect Edith violence. try Hall Allerdale in ghosts female the of domestic violence how and cases on these focuses of film the second part The to Edith. to same do the trying who is by were Lucille, murdered abused and ghosts female These Hall. Allerdale in wives mother Thomas’s and with but deceased also help might her overcome that listener her trauma. empathic the be he cannot her her keep fortune– and he intends to kill pure –as 2015a: 00:08:33). However, Thomas’s not given that are intentions Edith towards Toro (Del me. You lightly» not are where to taken be see, Icome from ghosts «They’ve Edith: he fascinated tells As always by haunted houseghosts. is family his as experience, her traumatic with empathise and believe actually only can one that the –arguably her to Thomas read stories is gets only person The that curtailed. is readers bond her empathic potential with an of establishing possibility the and through her working that so end at the of film, her the manuscripts burns Lucille Moreover, dangers. its potential against warns and time, at the literature Gothic Abbey of Jane Austen’s evocative is and novel century Northanger nineteenth the during commonplace was producing writers fiction– such female oppositionstrong against his as well (2019: 85). ofcapable –as creating for narratives ghost disregard This she is to by mute prompting it her all Edith is to that alove write story, assuming tries and of her editor penmanship» the her «reduces work aesthetics to the asserts, Roche more Arizona novelist to Hayley suitable love write for afemale stories. As it would be that and considered be literature, serious cannot of fiction type this that story.but a ghost her is her manuscript editor to He reluctant do because so is believes novel published, 2019: 85). her to get first trying is Edith of film, the beginning the At heroines (Roche or Brontë the Janefictional Austen their as such and writers, sisters nineteenth-century it. Toro great Del with with Edith identifying associates fully without to her pain witness bear can that listeners sympathetic would become the readers her and stories, potential ghost through into fiction her trauma transforms Gutleben 2010: 27, and she of Edith, (Kohlke case the In original). in emphasis apparatus» of novelistic the act central the as of trauma verbalisation the highlights testimonies or of oral written abyme en mise «the given that of metanarratives, use the neo-Victorian in through to is represent trauma fiction a commonIndeed, strategy storytelling. through therefore, attained is, release stories.of Her ghost cathartic it form the in of her losing mother trauma by the fictionalizing work so and through re-enactment». 1998: (Henke mode of the therapeutic in experience traumatic out through of or writing writing would sciptotherapy be one ways of that these suggests Henke Suzette (1817). for had ladies young that fascination obsessive the mocks Austen Furthermore, Edith not only interacts with her mother’s not with only interacts Edith Furthermore, film, the in ghost xii-xiii ). Peak Crimson In should be considered as Edith’s trauma trauma Edith’s should considered be as , Edith attempts to articulate to attempts articulate , Edith Crimson Peak Crimson , or «the process process , or «the by by

REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 221 REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 222 The Double and repetition compulsion in in compulsion repetition The and Double past. Victorian the with engagement ametaphor for as contemporary our present, serve haunt her the but in which also embodiment traumas, of the her past arguably are itself film the in and metanarrative (2014: 125). past Victorian Edith’s in both Consequently, appear that ghosts the of our ghosts historical and literary the both to summon us allows it also that adds it with at present connection our and (2010: 180), past Victorian Gruss to which of presence ametaphor the it since for as haunting works literature Victorian the neo- in key is of ghost the figure the that Mitchell’s Kate claim echoes assertion Toro (Del a«metaphor but as for past» rather the narratives, 2015a: 00:06:11). This siblings. of Sharpe the hands at the gendered traumas characters’ other to female her the and witness bears audience the and into storytelling experience her traumatic doingIn so, she transforms Hall. Allerdale in of her pain release cathartic the should interpreted be as itself Peak form Crimson stories, of the ghost in mourning her mother’s unsuccessful she fictionalises Just like her suffering. verbalises whereby Edith narrative trauma a (2016: 162), as built is device» film the shows that clearly Icontend this that her of «meta-framing love account violence and through to arealistic needed write she that experience real-life the gotten finally has MurphyM. it Edith proves that autobiography or (2018: 119), an ghosts with imagination Edith’s for and Beatrice (2020: 12).endure time at the Weeber just was wonders Whist story the whether to had writers female obstacles of audience social the the reminding a symbol tells Edith when the latter is bedridden, after being repeatedly poisoned: «I tended repeatedly being after bedridden, is latter when the Edith tells Lucille by of her as gender husband, violence perpetrated avictim was Sharpe, Lady siblings’ mother, the about of her Thomas’s First all, and Edith childhood. telling by them depicted it–, events before verbalises in the Lucille years occurred they as – film the in not portrayed are explicitly traumas these Although to perpetrators. from victims them its turned residents and shaped that traumas a number of family environment 2017: 4). (Musap safe aseemingly in to house bore witness Sharpe The Peak Crimson in Hall of Allerdale case the In disturbances». become a«site for uncanny siblings’ intentions. her of the to warn ghosts as have but returned they order fortunes, to their inherit women wealthy in murdered and other three married previously has Thomas that fact to oblivious the is Edith first, At to England. Lucille sister his and him with move and one of her Sharpe, suitors, Sir Thomas marry forced to is hastily Edith (Petrie asuitable husband 2000: 180). Hence, world to the up marry in rise was to woman behaviour, of only way for female the to a middle-class codes Victorian according Petrie states, Charles As relatives. living notshe does other male have any , the family mansion displaces its residents while simultaneously placing them them placing simultaneously its residents while displaces mansion family , the However, Edith claims that ghosts are not to be interpreted literally in her not in are to interpreted be literally ghosts that However, claims Edith As Emilia Musap points out, since the Victorian era, the family house has house has family the points Musap out, era, Victorian the since Emilia As position, aprecarious since in herself her finds father’s Edith After death, crimson

peak in the audience, since they are portrayed as two parts of the same being. Weeber being. of same the parts two as portrayed are they since audience, the in (2001 crime [1919]: 234).a similar feeling uncanny this trigger siblings Sharpe The or even traits, or personality physical situations, of similar frequentthe occurrence points to He self». also the interchanging and other words, by dividing doubling, –in own for substituted is his or foreign self confounded, the becomes self his that person, another so «with themselves people are who identify These experiences. emotions vital and knowledge, same the people who share look but identical, also phenomenon uncanny the of double. the For Freud, double the would refer to two of economic survival. it only means made their have siblings the as to inescapable, be of murders cycle appears endless seemingly (2001 mere inescapable», rather chance [1919]: 237). and «fateful something This it actually is that feeling by adreadful surrounded are mere they coincidences, as (2001 [1919]: 237).feeling» deemed be by repetitions could some Even these though uncanny an arouse circumstances, conditions certain combined and with to certain undoubtedly, «does or that events subject things situations, of same the recurrence compulsion (2001 [1919]: 238). phenomenon involuntary This an in consists of repetition Freud’s example as an uncanny, he defines which arguably is abuse– of domestic trauma childhood by their triggered home was and family their in place Thomas’s and I contend takes Lucille –which murderous of that behaviour pattern Furthermore, unjustifiable. and aberrant actions their finds monsters and as them regards listener, she not still is asympathetic as Edith trauma, childhood of their verbalisation the through of murderous behaviour pattern their to justify tries Lucille of siblings’ compulsive violence. cycle the conform Although –that wives previous of aconsiderable Thomas’s number of and murdersfirst father –i.e. Edith’s three the was This to perpetrators. from victims them relationship, transformed which deviant their she discovered mother murdered after their they that fact at the hints (01:38:51). Hiding» walls. rotting from one these in another was knew also Lucille when she found out And about us...beatings. Well, Iever only love and the Thomas from my mother’s Itook many Iprotected so infractions, him. cane, small his all from So perfect. He was Thomas. «But achild, abuse: you as should him, have seen love her made protect incestuous her brother mother’s from their this that Edith when she tells past traumatic this verbalises relationship. Lucille incestuous an in culminated eventually which siblings, the bond between unnatural an love triggered Toro (Del country» the in 2015a: 00:50:10).back of maternal lack this It that seems That’s floor. the she We’d was how sometimes. herpiano we knew through hear Mother played the attic. the in We nursery to the children. here as were confined were ignored by house mostly and her: the «Weplay around were in not allowed not could Thomas she and that to her mother’s when she explains neglect parental points Lucille fragment, following the In them. punished physically and attic the in Thomas and Lucille she confined as children, her two against aperpetrator became Toro (Del her Imade better» scars. 2015a: 01:24:04). However, later Sharpe Lady for her.But Icared Fed her. her. Bathed on liniment her her Rubbed Combed hair. for boot. She along bedridden She never time. under his quite was it healed. two in abrute. He Father Mother. hated was bed. BrokeMother this in her leg. Snapped The incestuous nature of Thomas and Lucille’s relationship takes us to us Lucille’s and of Thomas takes relationship nature incestuous The

REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 223 REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 224 one Toro (Del another 2015a: 01:26:38): never abandon will they promise that when they fragment, following the shown in relationship. interdependency Their is incestuous an and amurderousabuse, past –child experiences (2018: 123), fundamental traits same physical the share and have colours, similar same the wear they since twins, to look Thomas like and Lucille brother (2018: 123). of house» the and Toro Del that argues Weeber portrayed further of of her her parents, by absorbing parts filled shea split has personality, «which were subject to, developed they Lucille that abuse duepoints out child to the that, in in characters male the that claims Lukancic Khara Thomas. and of Lucille case the in vanishes from the house shortly afterwards, along with those of his previous wives. wives. previous of his those with along afterwards, house shortly from the vanishes of redemption, ghost act his as final his deemed be could This Lucille. killing in assistance his love and to his for Edith thanks features human-like granted been however, Thomas, to have Peak. seems Crimson name: its colloquial estate the gives blood-redto the were which house where buried, the present they clay underneath as well to point as violent seems to their of wives the deaths, appearance eerie The figure. humanlike disembodied transparent, Thomas’s almost an is whilst ghost blood-red skeletons athick covered tinge, in spooky, as fleshy portrayed are wives Thomas’s film. the in symbolical highly is appearance physical ghosts’ the Indeed, by Thomas’s ghost. assisted translucent nearly by Edith, she later killed is although of herself, part to lose that bear she her cannot brother because kills Lucille film, the (2018: 124). neither and able is sibling to fades survive» Lucille Towards end the of her Weeber brother’saccept As points out, Thomas’s betrayal. with «connexion to stop, murderous needs their cycle but cannot that Lucille and unnatural is sister his with relationship incestuous the that he realises as film, point the in for him aturning is This love Edith. in with falls Thomas after destroyed eventually are these house. family the her Thomas’s mother domestic sphere and the in of wives, characters, other female violence against she exerts –as of film the perpetrator her patriarchal the makes arguably to which men– associated been have traditionally that –traits relationship violent active, authoritative the and role their in assumes Lucille Thus, character. emasculated an as acting dictates, sister his everything who does to Thomas, 2018: 54) (Jamil mother surrogate» phallic castrating, symbolically and penetrative «a considered be as can and toThomas’s Edith– to attempts same do the and wives she poisons knife; akitchen her with head mother the stabs in –she crimes hideous the all (2018). commits one she the is that as villain, active the is Lucille Indeed, «hold ones agency» that the the are Lucille, and Edith protagonists, female the Crimson Peak Crimson It is also worth noting how gender reversal is explored in the film, particularly particularly film, explored is the how noting in gender worth reversal It also is know. I Lucille: Ican’t. Ican’t.Thomas: YouLucille: couldn’t You me. leave wouldn’t. apart. Never Thomas: We apart. Never together. Lucille: stay Whilst the siblings’ romantic bond and dual condition seem unbreakable, condition unbreakable, siblings’ seem romantic bond dual the and Whilst are passive and submissive, «existing in the background», while while background», the in «existing submissive, and passive are The return of the dead in in dead of the The return stopped. been has of violence cycle once traumatic the peace, in to rest estate leave haunted the They had been poisoning her from the start (Del Toro (Del her start poisoning from the been had 2015a: 01:21:56): Lucille that and mines, her family money the was to modernise wanted siblings the that only thing the that She basement of mansion. the explains the hidden in finds Edith that cylinder awax brides in future for his awarning as experience traumatic 2015a: 01:29:05). murdered, one Before she was of Thomas’s recorded her wives Toro (Del relationship enable siblings’ incestuous her the that clues to discover her,mother tells «leavehere Toro (Del now» 2005: 01:05:41), Edith give rest the and her to leave house. Thomas’ the warn they cases, both In house at night. the and her dreams by haunting Hall from Allerdale her to to flee persuade and nature about siblings’ pernicious the Edith to warn try They estate. Sharpe the in living are domestic sphere. the in controlviolence, and authority over characters other female perpetrators: to male associated traditionally have been that traits personality by adopting villain role the of patriarchal the she awoman, assumes is Lucille that above, despite fact the discussed perpetrator. As patriarchal poisoned the by Lucille, Thomas’s mother Edith’s and been who female: had wives, are mother and film the heroine the with in interact that ghosts the of story. the all Indeed, villains from the to protect women Edith abused who and of try wronged souls tortured –the allies Peak Crimson In orphanage. the in kids the Backbone most notably Devil’s The in films, Toro’s Del in helpers acommon is and occurrence guides as creatures supernatural protectors and (2015b: 125). guides Edith’s of mentioned As portrayal above, the but as rather evil, as spectres ToroDel these he not did to portray want that claims but protagonist, quite opposite. the female the fact, In who plot against characters in appear (2001 fate dark [1919]: 242). same to their latter that ghosts enough, the Curiously to condemn is the purpose their and of living enemies the as come back dead the that common belief the in in its origin has of ghosts fear our that Freuddead. asserts and Llewellyn point out, both Victorian and contemporary identities, «narrators, identities, point «narrators, contemporary out, and Victorian both Llewellyn and Heilmann where, as ofa common technique neo-Victorian narratives, trauma The latter ghosts appear halfway through the film, once Edith and Thomas Thomas and once Edith film, the through halfway appear ghosts latter The This incorporation of narrative voices and testimonies from the past is is past from the testimonies voices and incorporation of narrative This home. from it home. Idon’t far take this to die want Find my body, tea. the in I’mis me. poison The dying. killing are they that know this, To coming. them finds now. whoever hear stop recording I can Imust this. did they that it let known be them, find anyone Should closet. linen the in away cylinders these hide Iwill about. care they That’s of all his. machine infernal that my money to work is on want they but to leave, Ican’t. All strength the Ihad I wish Peak event most Crimson prominentThe in uncanny Crimson Peak Crimson do not conform to this norm, as they are not antagonistic not are antagonistic norm, they do not as to conform this crimson

peak , where Santi’shelps protects ghost and , the spectres are constructed as female female as constructed are spectres , the is the return of the return the is

REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 225 REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 226 to «create an analogous community of feeing [...] of feeing community analogous to an «create outside world of/beyond the audience the addressing indirectly is way, This film the of suffering». «community to needed a create is that to pain sympathy» the performing– «representing –and are on ghosts violence women exerted female history. the across Thus, patriarchal the would encapsulate Lucille whereas allies, feminist actually encounters are Edith (2014: 137). to modern audiences» continue to appeal Consequently, that ghosts the –[as they] individual on an experience of traumatic effects the as well roles, as gender to established challenge for the identity and by a«search characterised be to seem narratives trauma that asserts Cox other. support each fact, and In united remain they long as as world circumstances, despite vulnerable their patriarchal this in thrive and survive women viewers: for can female empowering message of sorority an act conveys this that Iargue of Lucille. hands at the suffered they experiences her atrocious todaughter, from the spare Thomas’s mother try and wives her protects and guides that mother aprophetic Edith’s is Just fate. as figure same their from meeting to protect Edith try spirits that asororitycreate of guardian (2014: 137). system upon patriarchal by the them spectres female Icontend these that inflicted of abuse cycle endless by the womenVictorian traumatised have been that Moreover, deems Cox of Jessica what (2020: 9). of» examples are they victims the are they which alive’ ’burying patriarchal and societal women the to expose «uphold spectralized ghosts conventions Victorian the female of staging these claims, Galiné violence. As lost to continue patriarchal to be– still –and been historically societies. contemporary in prevails still that experience of gender violence, atraumatic victims these with toaudience empathise its addressing indirectly is perpetrator. doing so, In film the patriarchal the Lucille, it by murdering against action and responsibility of she domestic takes violence, as experience ghosts’ female to the witness (2005: 122).place bears Edith that Iargue take injustices world the (2005: 124) where similar to change adesire by showing it (2005: 124). understand injustice fully for this responsibility Then, one take must (2005: 122)place not we might though even victim’s the real, is that and experience taken has atrocity of levels empathy. an that several to acknowledge one First, has requires witness Tracey to Deren Maya and sister. bearing Moffat, his According women subject and have these before been to her– by Thomas all she –and that violence of patriarchal the aware becomes and pain wives’ to the witness she bears recordings, to these listens when Edith Thus, them. conveyed through is suffering their since technique, of this example aclear basement are the in finds Edith that documents and cylinders recording wives’ (2010: 25). the that attained Iargue abyme of en sort mise a as novel object the or itself, an –work functioning in within trauma referential of the «encapsulation the is audience, the and character traumatised the between connection empathic and neo-Victorian in to establish and trauma trope fiction, to acommon strategy that Gutleben suggest and Kohlke (2010: 34). Likewise, literature» Gothic and realist Victorian and of nineteenth-century techniques collage and structures, devices, narrative the blend together, all sources mimicking documentary and dreams, reflections, recollections, entries, diary voices, letters, Indeed, these female ghosts are the embodiment of the women are who ghosts have female these Indeed, », through which the need to express the suffering can be be can suffering the to need express the which », through (Del Toro(Del 2015a: 01:50:04): eternity for place all a particular in why some condemned to remain of are them and voice-over, of ghosts last Edith’s existence the in her where belief she re-states (2019: 87). with closes to survive» her destiny film The to fulfil Edith «enabling the film exploits the so-called final girl trope girl final exploits so-called the film the end the of that order. asserts Roche social fact, the In restoring have gone through, Thomas’s violence the that wives redresses and villain the kills that angel avenging 2010: 6). (Hadley present anxieties and approach», past a «dual both adopting whereby it addresses characteristics: Peak Crimson (2005: 135). and general, in neo-Victorian narratives case trauma Therefore, this in violence» subject for of to testimony “witnesses” patriarchal the women still who are be can there which within structures «[c]ommunities to need establish everywhere as witness, for to audience bear the fundamental are gendered traumas portraying films that claim for Statistics). Moffatt National Deren and Indeed, (Office UK the 2019,In 7.5% estimated an of women (1.6 in domestic abuse experienced million) present prevalent in societies. still concern (Wiener 2004), but itsociety asocial is by accepted commonly was and era Victorian the during rampant violence run of gender violence. Gender case the in century, particularly into twenty-first the resonate well still traumas some nineteenth-century that in periods contemporary and Victorian the between aconnection establish might audiences contemporary Gutleben 2010: 28). and involvement (Kohlke of on part traumas the ethical This characters’ the towards witnesses empathic as act can they that so of text», the the tragedy (Christensen 2011: 24). (Christensen tragedy the about talk to survives usually and murderer the confront to person last the She is character. female dialogue: «ghosts are real. This much doing Iknow». so, In that Weeber This real. claims are «ghosts dialogue: same very the with finishes and entire movie, it the since starts lasts that flashback extended an attention as to its nature draws however, structure film’s the circular into outside the gates world» the (2016: 118-119). pass hersee truly For Weeber, We past. to house, to the the back never turning her is face, vision we have of Edith last «the since of closure, asense find not she does really that house. Murphy argues when ends she the leaves film the since to overcome her traumas, manages Edith Nonetheless, it whether not is clear Hall. Allerdale haunting spectre remaining love for her brother condemn her her only and unnatural to the be past vicious Edith, on the other hand, is the only female survivor, portrayed as an an as survivor, portrayed only female the is on other hand, the Edith, 3 to let of go her category, her latter since inability to belongs this Lucille away. go never they Or love. Those, Revenge. Loss. emotion. Adrive. an hold onto that Others others. are But there crime. Aterrible of blood. spilling The date. and Atime of land. to apatch tethered Some remain do us. they much like very to aplace, them tie that things much Iknow. are There This real. are Ghosts

The final girl trope is typical of slasher and horror films, wherein the only survivor is a is survivor only the wherein films, horror and of slasher typical is trope girl final The in particular, would be reflecting one of neo-Victorianisms main would reflecting be particular, in 3 , paying homage to slasher films and and films to slasher homage , paying

REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 227 REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 228 « of closing abook named and opening the with ends and Moreover, beings film the survivor. only female the and of film the focaliser and narrator the as she acts that proven is fact by the This release. her cathartic achieve she might which through narrative trauma own Edith’s should considered be as whole the film that argue (2018: 119). Hall» emancipation, of violence Allerdale the she in lived However, I «Del Toro whole the movie of anever-ending that is Edith’s re-enactment hints trauma, trauma, siblings. of Sharpe the hands at the traumas characters’ other female to her the and witness bear can audience the that so into storytelling, experience her traumatic transforms where Edith narrative atrauma as constructed is film the offers a sympathetic reading of the victims’ and survivors’ suffering. survivors’ and of victims’ the reading asympathetic offers –and century into twenty-first resonate well the still violence –which patriarchal (2010: of Peak Crimson 28). case the is This present and Victorian traumas between acontinuity ensures but also witnesses, and survivors among collaborations sympathetic and into solidarity experience trauma neo-Victorianism Gutleben claim, and transforms Kohlke As experiences. traumatic their with audience to empathize the perpetrator, encourage might which patriarchal the vanquish to help Edith film the inside of feeling acommunity create ghosts Moreover, female the it Edith. that with it Iargue sharing and by verbalising abuse of domestic trauma childhood their Finally, attempt to siblings work the through ordeal. their to need express the fulfil can they which through trauma referential the of encapsulation an as function which cylinders, recording it wax by in recording gendered own trauma their Thomas’s itself. verbalise wives film the is that narrative of trauma domestic experience the violence by creating traumatic the to work through later on and stories, attempts ghost by writing into storytelling mourning unresolved Gutleben 2010). and (Kohlke trauma Peak Crimson In of most to common represent the ways three are narrative trauma the within feeling an object an in its encapsulation through above, trauma representing discussed As characters. experience, so that a sympathetic listener can bear witness to and help to work and them witness bear can listener asympathetic that so experience, women. of gender violence howtrauma and it affects to represent double, of dead– the the the repetition return compulsion the and –particularly exploits of trope uncanny the the that neo-Victorian narrative trauma Peak Crimson that Ihave argued article, this In anxieties. timeless these to address present us our forces and permeates that past from the revenant uncanny an interpreted be as present. could Consequently, century nineteenth the at prevail still that traumas to explore us historical allows that periods contemporary Crimson Peak Crimson Finally, it is also worth noting that by representing different ways to trope ways by different representing that noting worth Finally, it also is Trauma survivors have an imperative need to verbalise their traumatic traumatic their to need imperative verbalise haveTrauma an survivors and Victorian the duplicity atemporal between displays Victoriana Screen Crimson Peak Crimson , constructing a traumatic metanarrative and establishing a community of acommunity establishing and metanarrative atraumatic constructing by Edith M. Cushing» (Del Toro (Del Cushing» M. by 2015a: 01:51:23). Edith shows that This is encouraging its audience to empathise with the traumatised traumatised the with its audience to empathise encouraging is CONCLUSION , as it depicts the timeless horrors of it timeless the depicts , as , Edith transforms her transforms , Edith is constructed as a a as constructed is characters and address the multitemporal issue of multitemporal gender issue the violence. address and characters develop way, empathy for traumatised the This can audiences. for they contemporary of reflection space afictional as act that of trauma narratives of historical example Peak Crimson violence. Thus, siblings’ patriarchal from the to protect Edith order in of feeling domestic violence history, acommunity join across in forces and represent ever-present the revenants of uncanny gendered These trauma audience. the and character traumatised the between connection empathic an helps establish that narratives afrequent is trauma in trope mechanism narrative intentions. This of siblings’ Thomas’s order the in wives to warn future trauma, of their abyme en mise a as function which cylinders, wax in experiences their by recording narratives trauma or not. experience traumatic overcomes her she whether actually for know certain we cannot to her afterwards, we do its not horrors and happens what know behind, all and Hall Allerdale leaves Edith after right ends However, of ghosts. film the existence given that the in belief voice-overs her where two she the states through story the finishes and introduces its narrator, she and as of story the only survivor the She herself. also is Edith is of closing abook, whose author and opening the with finishes and story, starts which of the focaliser she the is that supported fact by is the narrative trauma Edith’s as constructed is film the idea that The Hall. 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REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 229 REVISTA DE FILOLOGÍA, 43; 2021, PP. 213-232 230 Freud Del Toro Del Toro Del Deren, Toro Del Christensen Gruss Ganteau Cox Galiné Freud Claassens, Claassens, Busch Arias Austen The Woman in in Woman of The Adaptations Contemporary Trauma in of Sexual (2014):, Jessica «Narratives , Rosario, and Patricia Pulham Patricia and , Rosario, , Susanne (2014): «Spectres of the Past: Reading the Phantom of Family Trauma in Neo- Trauma in of Family Phantom the Reading Past: of (2014): the , Susanne «Spectres , Sigmund (2001 [1919]):, Sigmund Freud (trans.), (ed.), The Anna Stachey James in «The Uncanny», , Sigmund (2001 [1917]): «Mourning and Melancholia», in James Stachey (ed.), Anna Freud (ed.), Anna Stachey (2001 [1917]):, Sigmund James in Melancholia», and «Mourning , Brigitte and Tim Tim and , Brigitte , Marine (2020): «“Capture a Feeling of the Old”: Guillermo Del Toro’s Del Old”: of Guillermo the Peak Crimson aFeeling (2020): «“Capture , Marine , Jane (2008 [1817]): (2008 , Jane Abbey Northanger Maya and Tracey Moffatt Tracey and Maya subscribe.aspx Sight and Sound standard edition of the complete psychological works of Sigmund Freud, volume volume Freud, Sigmund of works psychological complete the of edition standard Press, 122-135. Literature and Media in Loss Terror of and Politics The Culture Popular in Studies Cinema», Horror Slasher in of Feminism Model aStronger Proposing You Productions. 136. Literature and Culture: Immersions and Revisitations (eds.), Neo-Victorian Gruss Susanne and Boehm-Schnitker Nadine in Fiction», Victorian (eds.), Onega and Culture: Immersions and Revisitations White URL: https://journals.openedition.org/polysemes/pdf/6872URL: intertextuelles et Polysèmes. intermédiales Revue d’études Gothic», Victorian the and v33n1a3 OTE Journal Tale», Handmaid’s The Atwood’s Margaret 29-30) and (Genesis Zilpah and Bilhah Leah, xvii (trans.), (trans.), 1919): An infantile neurosis and other works other 1919): and neurosis infantile An Linguistics Palgrave Macmillan, xi-xxv Macmillan, Palgrave (eds.), Neo-Victorian Fiction: Pulham Possessing Patricia the Past and Arias , Jean Michel and Susana Susana and Michel , Jean , Guillermo (dir.) Diestro-Dópido[interview], (2015b): byMar , Guillermo Interview Hunter». «Ghost , Guillermo (dir.) (2001): Backbone , Guillermo The Devil’s , Guillermo (dir.) (2015a):, Guillermo Peak Crimson L. Juliana (2020): «Reading Trauma Narratives: Insidious Trauma in the Story of Rachel, of Rachel, Story the Trauma in Insidious Trauma Narratives: (2020): «Reading Juliana L. (1917-1919): works other and neurosis infantile An , Kyle (2011): Wes Craven’s Street”: versus on Girl Elm “A «The Final Nightmare Gruss Susanne and Boehm-Schnitker », Nadine in 1 3 47. 23- 1: The standard edition of the complete psychological works of Sigmund Freud, volume volume Freud, Sigmund of works psychological complete the of edition standard The . 41 https://academic.oup.com/applij/article/41/3/323/5821459 (3): 323-333. URL: 33 (1): https://journals.co.za/doi/pdf/10.17159/2312-3621/2020/ 10-33. URL: Ethics and Trauma in Contemporary British Fiction British Trauma Contemporary and in Ethics . . URL: http://sightandsounddigital.bfi.org.uk/custompages/SightAndSound/. URL: McNamara Onega BIBLIOGRAPHY (2005): «The Ethics of Witnessing», in E. Ann Kaplan (ed.), Kaplan Ann E. in of Witnessing», (2005): «The Ethics in Rosario Haunting in Rosario and in Spectrality «Introduction», (2009): . (2020): «Language and Trauma: An Introduction», Introduction», An Trauma: and (2020): «Language (2011): «Introduction», in Jean Michel Ganteau and Susana Susana and (2011): Ganteau Michel Jean in «Introduction», , London: Random House. Random London: , , New York, London: Routledge, 1137-1149. York, Routledge, , New London: , London: Vintage, 217-252. Vintage, , London: , USA: Legendary Pictures and Double Dare Dare Double and Pictures Legendary , USA: , Spain: Canal +España. Canal , Spain: , New York, London: Routledge, 123- York, Routledge, , New London: , London: Vintage, 243-258. Vintage, , London: , New Jersey: Rutgers University University Rutgers Jersey: , New (eds.), . , Leiden: Rodopi B.V, Rodopi , Leiden: 7-19. Neo-Victorian Literature , eds., Hampshire: Hampshire: , eds., xvii 23: 1-16. 1-16. 23: Applied Applied (1917- (2015) (2015) .

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