The Character in the Veil: Imagery of the Surface in the Gothic Novel
Traditional criticism of the Gothic novel, following a topography of the self derived from Freud, has linked sexuality with depth, repression with surface. Gothic convention, however, especially as Ann Radcliffe and M. G. Lewis use it, links surfaces with sexuality and contagion. The Gothic view of character is a social one, and it is concerned with writing and reference. The tracing and retracing of quasi-linguistic markings on surfaces establish personal identity, but only from outside, ex post facto, and through a draining tension between the code and its material support. The repetitious, fixating process of ocular confrontation by which characters recognize themselves and one another is like the process by which readers recognize thematic conventions.