Academic literature on the topic 'Machen, Arthur'

In what is surely his best-known “shocker” of the 1890s, Arthur Machen has one of his ubiquitous bachelor heroes (Clarke by name) try to warn another off his pursuit of the truth about a preternaturally dangerous femme fatale figure, a woman responsible for the hideous deaths of a number of English gentlemen. “I am,” he writes to his friend, “like a traveller who has peered over an abyss, and has drawn back in terror. What I know is strange enough and horrible enough, but beyond my knowledge there are depths and horrors more frightful still” (“Pan” 89). But to what “depths,” exactly, does the fearful Clarke refer? What “horrors”? And why, here as elsewhere in this text, do depth and horror seem so intimately interconnected? The tale in question, “The Great God Pan” (1890), bristles with multifarious horrors, to be sure. In the novella's opening episode, a mad scientist figure performs experimental brain surgery on a young woman (“a slight lesion in the grey matter, that is all,” he says to an over-scrupulous chum), causing her to “see the god Pan,” and reducing her to idiocy and death (“Pan” 62, 68). The bulk of the subsequent narrative concerns a sequence of seemingly unrelated tragedies – the mysterious death of one gentleman in London, a rash of particularly horrid suicides by a number of others, the demise of an English artist in Buenos Aires – which prove all to be connected to a single figure of monstrous evil, a woman who goes by the name of Helen Vaughn (among others). She is, it turns out, the offspring of the subject of the surgical experiment and Pan himself, and her own (forced) suicide at the end of the story leads to a gruesome tableau of bodily dissolution reminiscent of Poe's M. Valdemar (or, to update the reference, the gooey, B-movie slime Slavoj Žižek seems to have claimed in the name of the Lacanian Real).

Welsh author Arthur Machen (1863–1947) wrote his most popular supernatural tales between 1890 and 1900, a period in which European culture felt itself to be on the decline and in which “decadent” art and literature rose up both as a reflection of and a contribution to this perceived cultural deterioration. While Machen's works have received little critical attention, a recent revival of interest in fin-de-siècle decadence has brought his supernatural tales into the literary limelight. Noteworthy examples of this interest include Julian North's treatment of The Great God Pan in Michael St. John's Romancing Decay: Ideas of Decadence in European Culture and Christine Ferguson's analysis of the same work in her PMLA article “Decadence as Scientific Fulfillment.” Indeed, Machen's supernatural tales could enhance and complicate any exposition of decadent literature and culture; they offer a unique vision of descent into the primordial that differs from the moral and psychological treatment of decadence in other popular works of the time, such as Wilde's The Picture of Dorian Gray and Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde. Like Stevenson and Wilde, Machen employs themes of transgression and metamorphosis to illustrate his characters’ deviations from human nature. However, the forces at work in Machen's tales do not arise from the recesses of the human mind in its modern conception, nor do his protagonists sin primarily against society and the arbitrary nature of its morals and values. Instead, Machen locates mythic forces at work within his contemporary society to highlight a much older form of transgression and to challenge notions of degeneration that held currency at the end of the nineteenth century.

Este artigo visa a demonstrar como Arthur Machen, autor da segunda metade do século XIX, considerado um mestre da literatura de horror, incorpora à ficção temas e tropos da Era Vitoriana, utilizando elementos fantásticos como uma forma de desafio às crenças e valores da época. Em O grande deus Pã, ele cria uma ficção em que é possível o contato entre dois mundos, visível e invisível. Por meio de uma personagem híbrida e metamórfica, que é o fio condutor da narrativa, Machen promove transgressões que se concretizam no espaço-tempo da ficção e espelham outras que se dão, secretamente, no mundo empírico. A recepção negativa da novela por parte da crítica refletiu o impacto que ela exerceu na sociedade inglesa do fin-de-siècle, pois expôs as entranhas de uma sociedade em que o erotismo era temido, o lar cultuado e a paixão era tabu.PALAVRAS-CHAVE: Era vitoriana; Fantástico; O grande deus Pã.

http://dx.doi.org/10.5007/2175-8026.2017v70n1p91O objetivo deste trabalho é analisar duas obras ficcionais, a novela The Great God Pan, de Arthur Machen, e o romance Shame, de Salman Rushdie, que contêm situações e eventos insólitos, examinando-as de modo a discutir como os elementos fantásticos presentes em ambos os textos relacionam-se ao contexto de produção das obras, ou seja, respectivamente, o século XIX e a segunda metade do século XX. Machen promoveu uma ruptura em relação à tradição das histórias de horror, então em voga, e Rushdie introduziu na literatura pós-colonial indiana características do Realismo Mágico. Temporalmente distantes, as duas obras recorrem a um mesmo artifício, típico da ficção fantástica, a metamorfose de personagens, e, por meio dela, os autores constroem uma crítica subliminar ao sistema político e social dominante em seu tempo.

This essay illustrates how Ben Hecht's short stories in The Little Review and the Chicago Daily News crucially expand the scope of burgeoning research into post-Wildean, American Decadence. These works (written between 1915 and 1921) have been over-shadowed by Hecht's later Hollywood career to the point where they have all-but eluded scholarly commentary. However, attention to these vignettes of sensual experience in downtown Chicago reveals that they develop Decadence in a unique direction, which fuses the backstreet Decadence of Arthur Machen and Arthur Symons with the pulp fiction published by Hecht's mentor, H. L. Mencken, in The Black Mask. The result, I argue, is that Hecht's short stories create a hard-boiled Decadence: a new form which uses Decadent language to explore the continuity of Decadent sensuality in the unlikely setting downtown Chicago, at the same time as it uses the emerging tropes of hard-boiled fiction to define the impediments to having a Decadent sensibility in such circumstances.

A partir da teoria do escopo formulada por Katharina Reiß e Hans Vermeer em Grundlegung einer allgemeinen Translationstheorie (1984) e de uma expansão do modelo de análise textual de relevância tradutória apresentado por Christiane Nord em Textanalyse und Übersetzen (1988), a presente tese de doutorado apresenta um novo modelo teórico para a execução da TRADUÇÃO RETROSPECTIVA, definida como a tradução a posteriori de um TP (texto precursor) ainda inédito na cultura-alvo que mantenha uma relação de influência e/ou precedência cronológica com um TS (texto sucessor) já traduzido anteriormente para a cultura-alvo, de maneira que a tradução de TP cause a impressão de ser anterior e/ou de ter influenciado a tradução de TS. A tradução retrospectiva tem por objetivo simular, na culturaalvo, a relação existente entre o original de TP e o original de TS na cultura-fonte através de uma inversão das relações de influência literária segundo os moldes propostos por Jorge Luis Borges no ensaio “Kafka y sus precursores”. Uma vez exposto o modelo teórico, o trabalho apresenta um estudo de caso sobre o volume O grande deus Pã, totalmente concebido em função de uma tradução retrospectiva do TP The Great God Pan, de Arthur Machen, feita com uma visada sobre o TS “The Dunwich Horror”, de Howard Phillips Lovecraft, traduzido anteriormente por mim.
By building on the Skopos theory proposed by Katharina Reiß and Hans Vermeer in Grundlegung einer allgemeinen Translationstheorie (1984) and on an expansion of the model for text analysis in translation presented by Christiane Nord in Textanalyse und Übersetzen (1988), this doctoral dissertation introduces a new theoretical model for RETROSPECTIVE TRANSLATION, defined as an a posteriori translation of a PT (precursor text) still unpublished in the target culture which in turn maintains a relationship of influence and/or chronological precedence with an ST (successor text) previously translated in the target culture, so that the translation of PT may seem to have anticipated and/or influenced the translation of ST. The objective of a retrospective translation is to simulate, in the target culture, the existing relation between the original of PT and the original of ST in the source culture by promoting an inversion of traditional literary influence relations inspired by Jorge Luis Borges's essay “Kafka and his precursors”. Once the theoretical model is laid out, there follows a case study of the volume O grande deus Pã, entirely conceived around a retrospective translation of the PT The Great God Pan, by Arthur Machen, done with a backward glance toward the ST “The Dunwich Horror”, by Howard Phillips Lovecraft, previously translated by me.

This thesis explores the emergence of a Welsh voice in exile in London at the turn of the twentieth century. Through readings of works by four London-Welsh writers active during the period 1890-1915 - Ernest Rhys (1859-1946), Arthur Machen (1863-1947), W. H. Davies (1871-1940) and Caradoc Evans (1878-1945) - it argues that the London context of these works makes possible the construction of various modes of Welsh identity. The introduction begins by noting how theorists of national identity have identified cultural practices, including literature, as important in shaping the imagined community of the nation. It then incorporates, and adapts, Raymond Williams's thinking about the interplay of residual, dominant, and emergent currents operating within a culture by arguing that residual elements within a society can be harnessed and endowed with the potential to become newly emergent. The introduction concludes by identifying Matthew Arnold's description of the Celt in his On the Study of Celtic Literature (1867) as a residual element. Nevertheless, it points out how, in various ways, Arnold's Celt is recuperated by London-Welsh writers (among others) at the turn of the twentieth century. Chapter One argues that the work of Ernest Rhys constructs a self-conscious Welsh literary tradition by reclaiming Welsh-language literature and Arnold's Celt and mobilising them as part of a cultural-nationalist aesthetic London is an important influence on this development for material and aesthetic reasons. Chapter Two considers how Celtic history and mythology haunt the representation of the Gwent border country in the work of Arthur Machen, arguing that Machen's Celt is also derived from Arnold but recast as a spectral, ghosdy figure. Chapter Three discusses Machen's fellow son of Gwent, W. H. Davies. Davies's work, both poetry and prose, frequendy contrasts country and city, yet this chapter argues that Davies's work articulates a hybrid voice which anticipates several of the themes and techniques present in later Welsh writing in English. Chapter Four extends this by considering the early work of Caradoc Evans, whose early 'Cockney' stories carry structural and thematic similarities with both Davies's poetry and his own later collections. By this reading, Evans's My People (1915) stands as a text which inherits earlier works and draws on an already-existing London-Welsh literary culture. This thesis concludes by arguing that the London context to these writers' works makes possible the consolidation of a Welsh literary structure of feeling into an emergent literary voice in English: London enables each of these writers to reassess their relationship with a Wales left behind, but a Wales which nonetheless provides an impetus to new creative developments.

English
Ph.D.
From the late Victorian period to the early twentieth century, Arthur Machen's life and his writing provide what Deleuze and Guattari argue to be the value of the minor author: Contemporary historical streams combine in Machen's fiction and non-fiction. The concerns and anxieties in the writing reflect developments in their times, and exist amid the questions incited by positivist science, sexological studies, and the dissemination and popularity of Darwin's theories and the interpretations of Social Darwinism: What is the integrity of the human body, and what are the relevance and varieties of spiritual belief. The personal and the social issues of materiality and immateriality are present in the choice of Machen's themes and the manner in which he expresses them. More specifically, Machen's use of place and his interest in numinosity, which includes the negative numinous, are the twining forces where the local and the common, and the Ideal and the esoteric, meet. His interest in Western esotericism is important because of the Victorian occult revival and the ritual magic groups' role in the development of individual psychic explorations. Occultism and the formation of ritual magic groups are a response to deep-seated cultural concerns of industrialized, urban modernity. Within the esoteric traditions, the Gnostic outlook of a fractured creation corresponds to the cosmogony of a divided cosmos and the disjointed realities that are found in Machen's late-Victorian literary horror and supernatural fiction. The Gnostic microcosm, at the local level, and the mesocosm, at the intermediary position, are at a remove from the unified providence of the greater macrocosm. The content of the texts that I will analyze demonstrates Machen's interest in the divided self (with inspiration from Robert Louis Stevenson), and those texts consider the subject of non-normative sexuality and its uncanny representations, natural and urban, as a horror that is attractive and abject--a source of fascination and a cause of disgust. The view that I state is that Machen wrote late-Victorian, post-Romantic Gothic literature that is not dependent upon either the cares of Decadence for artificiality or the disavowal of Gnosticism of the worth of mortal life and experiences in the material world. Machen's outlook is similar to Hermeticism, and like the Hermeticists he enjoyed many of the pleasures available in the world and in the narratives of ecstatic wonder that he found: the power of archetypal myth and local lore; good food and drink; travel between country and city; and close associations with friends and family, modest in number and rich in quality. The Great God Pan, The Three Impostors, or, The Transmutations, "The White People," and the autobiographies Far Off Things and Things Near and Far are the primary sources in my study. The enchantment of place and the potential and active horrors of the countryside and the city of the late Victorian and Edwardian periods inform Arthur Machen's life and his literary world. The influence of Machen's childhood in his native county of Gwent, in South Wales, and his adult residency in everywhere from low-rent to more-desirable areas of London feature prominently in two volumes of his fiction, which appeared in the influential Keynotes Series published by John Lane's Bodley Head Press in the 1890s: The Great God Pan and the Inmost Light (1894), and The Three Impostors, or, The Transmutations (1895). Those works of fiction indicate a major pattern in Machen's outlook and imagination. For instance, the The Great God Pan presents Machen's late-Victorian re-invention of Pan, the classical rustic Arcadian god of Greek mythology. The Pan demon--or sinister Pan--evidences an aspect of threatening vitalistic nature that appears at the indefinite center of sexual concealment. Male characters act in secrecy by necessity due to the Labouchère Amendment to the Criminal Law Amendment Act of 1885. Machen uses the more beneficent, affirming aspects of the Pan figure for the short story "The White People" (1899) in the long middle section titled The Green Book. However, threats to female adolescence and sexual sovereignty, and contending principles of female and male energies, unpredictably strike through the more sinister and in the more beneficent of Machen's tales, which include the prose poems of Ornaments in Jade. These factors sometime destroy life, and seldom conceive or sustain its creation. Yet the presence of esoteric concepts in those same narratives offers non-rational alternatives to the attainment of gnosis. The Three Impostors, the second of Machen's Keynotes volumes, with its plot of conspiracies and dark secrets not only suggests Machen's interest in the criminal underworld and involvement with the ritual magic groups of the late-nineteenth century, but also his caution about the dark attraction of that glamour and how those occult groups and leaders operated. The Horos case and trial of 1901 and the Charles Webster Leadbeater scandal of 1906 provide support for Machen's circumspection. However, as a skeptic of the occult in practice, but as a reader and writer who had a deep interest in the esoteric as a subject of study, Machen's literary writing presents a variety of tensions between belief in the idealism of spiritual realities and the necessity for clear and grounded reason in consideration of preternatural phenomena. The interest in the abnormal functioning of bodies, a convention of Gothic fiction, appears in Machen's work in correspondence to the status of Sexology and the proliferation of studies of human sexuality in the late Victorian period. Especially important is the concept of sexual inversion, a term for homosexuality that was popularized in the works of the scientific researchers Richard von Krafft-Ebing, in Psychopathia Sexualis (1886), and Havelock Ellis, in Sexual Inversion (co-authored by John Addington Symonds), which is the first volume of Ellis's series Studies in the Psychology of Sex (1897). The final chapters of Machen's The Great God Pan are set in 1888 in London, and there is a direct reference to the White Chapel murders (i.e., the Ripper crimes). Therefore, I analyze Machen's fiction for its gendered focus on abhuman qualities, abnormal behavior, and violence: the abhuman as understood by Kelly Hurley, and violence in London as a version of Walkowitz's London as City of Dreadful Delight. Another historical context exists because the year before Machen finished the first chapter, "The Experiment," the Cleveland Street affair and its scandal occurred and included a royal intervention from the Prince of Wales to halt any prosecutions (1889). In The Great God Pan, Helen Vaughan, who passes from salons in Mayfair to houses of assignation in Soho, represents a dynamic, unified force of being and becoming that draws from and revises the multiple but fractured personality of Stevenson's Jekyll. Likewise, The Green Book girl in the short fiction "The White People" experiences a communion of gnosis that separates her from the social life and conditions of her father, a lawyer, and his middle class world of the British Empire's materialist legal structures. The esoteric and otherworldly, and the physical and material, combine, fragment, and transcend in the local world and the greater cosmos imagined by Arthur Machen.
Temple University--Theses

Ces travaux entendent soumettre à l’épreuve des textes fin-de-siècle d’Arthur Machen (1863-1947) deux hypothèses : celle d’une appartenance au décadentisme et au symbolisme, d’une part, et celle d’un principe de consistance régulant les tensions qui sous-tendent son œuvre mineure, d’autre part, celle-ci mêlant les pratiques issues des corpus sapientiaux de la Bible et des récits intertestamentaires aux rites thérianthropiques du totémisme primitif. Le syncrétisme entre christianisme et paganisme ainsi que l’oscillation entre ascétisme apollonien et esthétisme dionysiaque reflètent aussi bien la résilience que les pathologies de l’artiste, qui façonne à la manière d’un homo faber des Künstlerromane et des autoportraits révélant sa nature protéenne. Inspirés des multiples courants artistiques jalonnant l’époque victorienne, les textes de Machen composés au tournant du siècle font de lui un auteur difficile à classer et trop souvent étiqueté parmi les écrivains gothiques et fantastiques – indétermination générique notamment due à l’anthologisation de son œuvre et nécessitant un travail de fouille dans des domaines variés tels que l’archéologie, l’anthropologie et l’ethnologie. La nouvelle, le roman par épisodes, le conte et le poème en prose en particulier deviennent des formes expérimentales où les diaristes établissent les prémices de l’écriture automatique des surréalistes. Perçu tantôt comme l’emblème de la contagion héréditaire, tantôt comme le héraut d’une civilisation décadente, l’artiste porte plusieurs masques que parasitent les fausses pistes laissées par l’auteur. Ayant exploré l’hypothèse d’un Machen poète, théologien, puis essayiste et théoricien du Beau, il sera possible, dès lors, de comprendre le décalage qui oppose la fiction et la vie de ce fervent anglican de la Haute Église, de cet époux fidèle qui cultive néanmoins, dans ses textes, des fantasmes paraphiliques, des rêves de l’Orient et de la Grèce ou, au contraire, des itinéraires pénitentiels douloureux régis par une tradition galloise médiévale supposant autoflagellation et jeûnes anorexiques. Loin de représenter un « calice vide », la liturgie devient chez Machen un pouvoir sacré, comme l’atteste la corrélation entre l’humiliation du corps et l’élévation de l’esprit dans The Hill of Dreams. En revendiquant également la richesse d’une culture galloise minoritaire, Machen participe au « Celtic Revival » et compose des chroniques du Gallois déraciné, exilé à Londres, tentant de survivre à un environnement urbain hostile en le reterritorialisant, spatialement et temporellement
The present study sustains an analogy between the fin-de-siècle texts of Arthur Machen and the aesthetics of Decadence and Symbolism, first, and a principle of consistency regulating the tensions that underlie his minor works – id est, the customs originating from the sapiential corpus of the Bible and the intertestamental narratives being blended with the therianthropic rites of primitive totemism. The syncretism between Christian and Pagan rites and the oscillation between Apollonian ascesis and Dionysiac aestheticism mirror the resilience as well as the pathologies of the artist in his Protean Künstlerromane and self-portraits. Inspired by the numerous artistic currents of the Victorian age, Machen’s turn-of-the-century texts are quite complex to classify and account for the too frequent association made between his style and that of Gothic or Fantastic authors. This generic indetermination, notably triggered by the anthologization of Machen’s texts, requires a work of investigation in diverse domains such as archaeology, anthropology and ethnology. Episodic novels, short stories, tales, and prose poems, in particular, become experimental diaries foreshadowing the Surrealists’ automatic writing. Deemed to be either the emblem of hereditary contagion or the herald of a decadent civilization, the artist wears several masks which are further distorted by the author’s misleading autobiographical hints. After showing that Machen is not only a poet but also a theologian and an essayist and a theorician on aesthetics, it will be possible to understand the discrepancy between the fiction and the life of a fervent High-Branch Anglican, a faithful husband who nevertheless cultivated, in his texts, paraphilic fantasies, dreams of a new Orient and an Ancient Greece, or quite the contrary, extreme penitential itineraries grounded in a Medieval Welsh tradition requiring self-flagellation and anorexic fasting. Far from representing a “chalice empty of wine”, liturgy becomes a sacred power as the correlation between physical losses and spiritual gains in The Hill of Dreams shows. By championing the beauty of a minor Welsh culture, Machen partook in the “Celtic Revival” and wrote the chronicles of uprooted Welsh subjects exiled in the hostile environment of fin-de-siècle London and striving to reterritorialize its spatial and temporal constitution

Cette thèse examine l’évolution et la présence de l’orphisme dans les textes romanesques de quatre écrivains en France et en Grande-Bretagne : Édouard Schuré (1841-1929), Joséphin Péladan (1858-1918), Arthur Machen (1863-1947), et Algernon Blackwood (1869-1951). Le sujet est étudié de 1880 à 1919 – une période que nous désignons comme « post-romantique ». Le terme orphisme implique que l’individu orphique possède un savoir susceptible d’apporter un remède à une certaine condition indésirable, en l’occurrence, le climat de décadence qui pèse sur le dernier tiers du XIXe siècle, attribuable, selon ces quatre auteurs, au pessimisme et à la laïcisation qui avaient corrompu la société d’alors. Par le biais de leurs textes, ces écrivains espéraient faire prendre conscience au lecteur d’une spiritualité innée, mais oubliée, et renouer peut-être avec elle. Ce postulat soulève de nombreuses questions de forme et de contenu du récit, relevant de nombreux débats stylistiques et ontologiques touchant à la religion et au roman à la fin du XIXe siècle. De fait, les romans de ces auteurs, bien que motivés par des questions analogues, ne se ressemblent que par la présence de certains éléments structurels : un protagoniste qui est un avatar du lecteur envisagé (l’homme ordinaire moderne), un cadre représentatif de celui du lecteur, et le Divin – une représentation de Dieu héritée de l’époque romantique et caractérisée par sa nature abstraite et impersonnelle. En étudiant ces aspects, cette thèse entend éclairer la présence d’une philosophie idéaliste cruciale à la compréhension des récits romanesques de ces écrivains, et établir la place de leur œuvre et de leur pensée religieuse dans le contexte littéraire et spirituel fin-de-siècle
This dissertation examines the evolution as well as the presence of orphism in the novels of four writers from France and England: Édouard Schuré (1841-1929), Joséphin Péladan (1858-1918), Arthur Machen (1863-1947), and Algernon Blackwood (1869-1951), within the period from 1880 to 1919– a period which we designate as ‘post-romantic’. The term orphism implies that the orphic individual possesses a certain knowledge capable of bringing about a remedy to a given, undesirable, condition. In the case of these writers, the condition in question is an atmosphere of decadence which weighed upon the final decades of the 19th century, and which was attributable, according to these four authors, to a widespread pessimism and secularization which had corrupted the society of the day. It was therefore the hope of these writers that their texts would act as a means for the reader to regain awareness of, and perhaps reunite with, a long forgotten, yet innate, spirituality. This premise quickly raises an abundance questions pertaining to both the style and the content of the text which stem from sweeping reexaminations of both the idea of religion and the idea of the novel which occurred at the close of the 19th century. As such, the novels produced by these writers, though all responding to the same societal phenomenon, have only a few key points in common. Indeed, common to all are: a protagonist who is an avatar of the reader envisioned by the author (a ‘normal’, modern reader), a setting which is representative the world of the aforementioned reader, and the Divine – a representation of God that is inherited from the romantic era, and characterized by its abstract and impersonal nature. This dissertation aims, therefore, to illuminate the presence of an idealist philosophy which is crucial to a correct understanding of the novels of these authors, by establishing the place of their written works and their religious thought within the context of the fin de siècle literary and spiritual landscapes

This chapter explains that although Clarke valued new technology, his stories regularly cast inventors and inventions in a negative light. Evidenced by the club stories in Tales from the White Hart (1957), the motives of his science fiction inventors are usually questionable; their machines frequently malfunction, or have undesirable side effects; and even when functioning properly, inventions can be misused. After long periods of development, machines may be perfected but can become useless or succumb to the ravages of time. These concerns figure in Clarke’s only novel focused on a new machine, The Fountains of Paradise (1979), wherein an engineer’s ego drives him to construct a space elevator; mishaps plague its construction; and the device is eventually abandoned when a climate change renders Earth uninhabitable.

A patent for a fax machine taken out by Alexander Bain in 1843. The principles of operation, how images are transmitted, are described. Fax lines entered into service in 1865 between Paris and Lyon. The portable fax was invented by Belin in time for sending images from the battlefields in the First World War. A fax sent from Berlin by Arthur Korn’s machine was displayed in Paris by l’Illustration, a popular French journal. The heyday of fax was the decade between 1986 and 1996. International comparisons are shown. Japan, due to her alphabet, relies very much on the fax machine.

In ‘Reading the Gothic and Gothic Readers’ Andrew Smith outlines how recent developments in Gothic studies have provided new ways of critically reflecting upon the nineteenth century. Smith then proceeds to explore how readers and reading, as images of self-reflection, are represented in the fin de siècle Gothic. The self-reflexive nature of the late nineteenth-century Gothic demonstrates a level of political and cultural scepticism at work in the period which, Smith argues, can be applied to recent developments in animal studies as a hitherto largely overlooked critical paradigm that can be applied to the Gothic. To that end this chapter examines representations of reading, readers, and implied readers in Arthur Machen’s The Great God Pan (1894), Bram Stoker’s Dracula (1897), and Arthur Conan Doyle’s The Hound of the Baskervilles (1902), focusing on how these representations explore the relationship between the human and the non-human. An extended account of Dracula identifies ways in which these images of self-reflection relate to the presence of the inner animal and more widely the chapter argues for a way of rethinking the period within the context of animal studies via these ostensibly Gothic constructions of human and animal identities.

This chapter provides a summary and overview of Milestone’s life and career. In 1979 the Directors Guild of America honored him with a tribute, where various actors and directors praised his contribution to the Hollywood movie industry. Film historian David Parker wrote an appreciation for the printed program, noting his longevity and concern for “social candor.” Journalist Arthur Lewis wrote a profile calling Milestone “modest” and “macho.” His close friend Norman Lloyd described Milestone as “remarkable,” but observed that “personal complications” prevented his huge talent from emerging fully.