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Scottish GothicAn Edinburgh Companion$
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Carol Margaret Davison and Monica Germana

Print publication date: 2017

Print ISBN-13: 9781474408196

Published to Edinburgh Scholarship Online: May 2020

DOI: 10.3366/edinburgh/9781474408196.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 24 July 2021

Queer Scottish Gothic

Queer Scottish Gothic

(p.208) Chapter 16 Queer Scottish Gothic
Scottish Gothic

Kate Turner

Edinburgh University Press

This chapter’s analysis of queer Scottish Gothic originates from a simple observation: there is a large and coherent scholarship on queer Gothic and Scottish Gothic respectively; however, there is notably little analysis of the way Scottish and queer Gothic may interact. With the exception of one recent article by Fiona McCulloch, queer Scottish Gothic has not yet been given full critical attention. This chapter explores revisions in the treatment of Gothic monsters, traditionally viewed as ‘all that is dangerous and horrible in the human imagination’ (Gilmore 2003: 1), in Louise Welsh’s The Cutting Room (2002), Luke Sutherland’s Venus as a Boy (2004) and Zoë Strachan’s Ever Fallen in Love (2011). More specifically, this analysis considers the dissociation of the monstrous figure from fear and terror in these texts, and suggests that they are repositioned as elusive figures through which the peripheral identities of Scottish and of queer may be simultaneously explored.

Keywords:   Queer, Monster, Gothic, Uncanny, Sexuality

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