By Carol Margaret Davison (auth.)
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They] saw an image of their own condition and fate' (SO). While several exemplary studies exist that focus on the figure of the Jew in Bram Stoker's Draw/a and other Victorian fin-de-siecle texts, 20 an exploration of the Jewish Question as a component of the theological terror in the Gothic has yet to be undertaken in any systematic way. Porte's elision of the Wandering Jew's religious identity provides yet another case in point regarding this oversight. When the Wandering jew's ]ewishness is foregrounded, however, the Gothic is revealed to enact, on one level, a dramatic and often violent type of family romance about Christian Britain's religious inheritance.
It also subtended the popular Christian portrait of the Jews as a materialistic, flesh-bound nation divorced from the spiritual world and divine love. Although Paul was himself circumcised and had circumcised others (Shapiro, Shakespeare: 117), his remarks on this Jewish practice, once he became a Christian convert, called Jewish identity into question and implied that that nation was spiritually myopic. 6, which read, 'Circumcise the foreskin of your heart,' and 'The Lord thy God will circumcise thine heart', Paul wrote, 'He is not a Jew which is one outward, neither is that circumcision, which is outward in the flesh.
Hansard's 95:1329) If there exists a cure for Judeophobia, the age-old malady of Christianity, it lies not in the suppression of symptoms but in their exposure to the light. (Manuel: 1) Published just several years before the traditionally acknowledged termination of the classic British Gothic period, Maria Edgeworth's 1817 novel Harrington may seem an unusual and even illogical point of departure for a study of the Jewish Question in Gothic fiction. What Harrington is singular in providing, however, is a remarkably self-conscious exploration from early nineteenth-century England of the psychopathology of anti-Semitism.
Anti-Semitism and British Gothic Literature by Carol Margaret Davison (auth.)