The Gothic Novel

A. The novel presents the vampire count as a father-figure of great power.
B. The vampire represents a beloved father who seeks to gather together all the women and young men (sons).
C. The vampire represents sexual impotence.
D. The vampire represents the future.

A. It is an ancestral estate.
B. It contains vault-like spaces.
C. It is located in England.
D. It is mysterious.

A. It is a necessary part of the social order.
B. It is essentially fair.
C. It is monstrous.
D. It will naturally fall out of favor.

A. It represents a “doubling” of Queen Victoria by English women as they remake themselves in her image.
B. It represents the “transformation” of the traditional Victorian woman from the private sphere to the public sphere.
C. It represents the rise in psychological pathologies or “madness” in women in the late 19th century.
D. It represents the “pollution” of the ideal woman by foreign influences.

A. The uncanny
B. The fallen world
C. The “Other”
D. The sublime

A. To represent the expansion of Gothic literary spaces from only subterranean spaces to attics as well
B. To represent the shift from the male Gothic villain to the female Gothic villain in the Victorian Gothic novel
C. To make reference to the rise of personal responsibility in Victorian England for the care of the sick and insane
D. To make an ironic statement about the point of view and marginalization of the “Other” in Victorian England

A. It engenders confusion for both the novel’s protagonist and readers.
B. It offers a secure refuge for the novel’s protagonist.
C. It provides the space for a large community of people to congregate.
D. It represents the glory of a bygone age.

A. The relative location of the room in which the “troubled” women are kept
B. The state of disrepair when the houses are first encountered by the protagonists
C. The relative location of the houses within the larger communities
D. The relative age of the houses

A. The reference to ancestral halls
B. The uncommon nature of the event
C. The first-person narrator
D. The dichotomy between the concepts of ordinary and estate

A. Romantic literary criticism has been stubbornly limited with regard to queer readings.
B. Deviant sexuality, including homosexuality, has historically been associated with Romantic literature.
C. The sexual lives of Romantic-era authors are not relevant to our understanding of queer Romanticism.
D. The “Queer Gothic” is understudied.