In this essay, I set out to explore and analyze how Shirley Jackson’s The Haunting of Hill House, and the character of Eleanor Vance in particular, disrupts and redefines the traditional conventions of the Female Gothic within the context of the 20th century. I utilize Tania Modleski's gendering of Freud's theory of psychoanalysis in her exploration of the ‘Female Uncanny,’ arguing that the source of the Uncanny in the Female Gothic can be found in the "fear of being lost in the mother." I argue that Jackson's complex personal life, including her fraught relationship with her mother and her difficult marriage with literary critic Edgar Hyman, color her fiction and the primary motivations of her protagonist, Eleanor Vance. I also outline the traditional structure of the Gothic novel and the heroine's journey. With the necessary context provided, I then explain how Eleanor Vance’s character rejects these Gothic traditions and ushers in a new era of Female Gothic fiction.

This paper explores the intersection of female madness and Gothic space in four pieces of Gothic media: Jane Eyre written By Charlotte Brontë, "The Yellow Wallpaper" written by Charlotte Perkins Gilman, Carrie (1976) directed by Brian De Palma, and Midsommar (2016) directed by Ari Aster. In these texts, female characters find themselves driven “mad,” either by their own design or from outside influences. While the madness presents itself differently in each text, they all share common elements, especially in terms of Gothic space. Each text sees its madwoman affected by the environment around them whether it is explicitly stated in-text or not. Gothic space acts as both a metanarrative on the characters’ lives and emotions, and as literal, physical spaces that the characters inhabit and interact with. Oftentimes, what the character cannot express is told through the environment around her. Feelings of suffocation, misery, entrapment, and repression are represented in and through haunted homes, quasi-asylums, closets, schools, attics, and sun-lit fields. In analyzing all four texts individually and in relation to one another, this paper also argues for the presence of a paradox inherent in the cultural formation of female madness. In each text, all written/created across 200+ years, a common theme emerges. Though the expression of madness for the women in each text is a freeing and liberating experience, they also meet tragic and often violent ends. The madness exhibited in each text is both a response to and an expression of trauma - resulting in either victimization or villainization for the women who succumb to it. The end result depicts women who have been physically, mentally, and emotionally destroyed from their own madness. In freeing themselves, they unknowingly and unintentionally subject themselves to further pain and misery.