This thesis examines the Gothic representation and symbolic function of the Scottish natural environment in two works by Robert Louis Stevenson: the short story “The Merry Men” (1882), and the...Show moreThis thesis examines the Gothic representation and symbolic function of the Scottish natural environment in two works by Robert Louis Stevenson: the short story “The Merry Men” (1882), and the adventure novel Kidnapped (1886). The Gothic aesthetics in Stevenson’s writings – such as the notion of the sublime, the personification of nature, and the past versus the present – highlight the themes that the author expresses through his description of the Scottish landscape and seascape. By analysing the depiction of the Scottish natural environment in “The Merry Men” and Kidnapped, and by comparing these images with the aesthetics characteristic of the Gothic genre, I will demonstrate that the Scottish natural environment is not only Gothic in description, but also symbolises the themes and motifs of the narratives involved, such as heritage, memory and identity. Moreover, in the two narratives, the idea of Scotland as a nation as well as its specific physical environment becomes dark and mysterious, affecting both the characters’ and the readers’ sense of place. Since one’s sense of place is closely connected to one’s state of mind, this thesis also critically explores the extent to which the Scottish landscape and seascape influence the state of mind of the protagonists.Show less
‘Gothic has, in a sense, always been ‘queer’’, or so Hughes and Smith argue in their introduction to Queering the Gothic. Other critics have suggested that Gothic is queer in the sense that it has...Show more‘Gothic has, in a sense, always been ‘queer’’, or so Hughes and Smith argue in their introduction to Queering the Gothic. Other critics have suggested that Gothic is queer in the sense that it has always occupied the liminal spaces and transgressed boundaries in order to interrogate what is “normal” in society . In the Victorian age the sexual aspect of the queer becomes of pivotal importance. When the Labouchere Amendment was passed in 1885, acts of homosexuality became officially criminalised. Research shows how the Gothic then evolved even more strongly into a space for expressing ‘sexual defiance’. Late Victorian authors found ‘a safe location’ in the Gothic genre to ‘explore the landscape of sexual taboos’. The Strange Case of Dr Jekyll and Mr Hyde and The Picture of Dorian Gray are both narratives of the late Victorian period and have been widely researched for expressing homosexuality in their narratives. This thesis examines the two novels explicitly for the similar Gothic tropes they use in order to express their queer narrative. This thesis is a close reading of the two novels, comparing and contrastingthese texts by showing how they employ similar Gothic tropes the two novels use to express their homosexual narrative, namely: contemporary anxiety around degeneration, a repressed hidden identity, and the strategical use of elision and “silence”. Through this I will investigate how The Strange Case of Dr Jekyll and Mr Hyde and The Picture of Dorian Gray mirror one another’s queer narratives and how they use the Gothic to criticise and accuse Late Victorian society and law enforcement for marginalising homosexual men and thus creating the internalised double homosexual ‘monster’.Show less
