References Armstrong, Nancy. 1987. Desire and Domestic Fiction. Oxford: Oxford University Press. Baldick, Chris and Robert Mighall. “Gothic Criticism” in A New Companion to the Gothic. David Punter (Ed). Oxford: Wiley-Blackwell, pp. 252-264. Benfey, Christopher. 1992. “Poe and the Unreadable: ‘The Black Cat’ and ‘The Tell Tale Heart,’” in New Essays on Poe’s Major Tales. Kenneth Silverman (Ed), New York: Cambridge Univ. Press, pp 41-42. Bloom, Harold. 2006. “Introduction” in Bloom’s Modern Critical Views Edgar Allan Poe Updated Edition. Harold Bloom (Ed). New
References Aguirre, Manuel. 1990. The closed space: Horror literature and western symbolism. Manchester: Manchester University Press. Aguirre, Manuel. 2007. The thresholds of the tale: Liminality and the structure of fairytales. Madrid: The Gateway Press. Aguirre, Manuel. 2013a. Gothic fiction and folk-narrative structure: The case of Mary Shelley's Frankenstein. Gothic Studies 15(2). 1-18. Aguirre, Manuel. 2013b. A grammar of Gothic: Report on a research project on the forms of the Gothic genre. Romantic Textualities: Literature and Print Culture, 1780-1840, 21
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. University of Trnava, Trnava, 1994, p. 44 (in Slovak).  JÁVOR, A.: Secular wall paintings in the Northeastern Hungary. Art education and artistic studies. Müvészettörténeti tanulmányok, Budapest, 1978 (in Hungarian).  HABOVŠTIAK, A.: Contribution of medieval archeology to the study of Romanesque brick churches in Slovakia. Sborník Československé Společnosti Archeologické, 1961 (in Slovak).  GRÚŇOVÁ, Z.: Geometry of the Late Gothic portal in Handlová church. Civil and Environmental Engineering, Vol. 14, Iss. 1, 2018, pp. 69 - 75.
Gothic architecture is one of the oldest surviving architecture in Slovakia. The Church of St Catherine of Alexandria in Handlová was built in the High Gothic period of 1360 - 1370; its main stone portal belongs to the later phase of 1502. The paper focuses on architectural features and geometry of this late gothic portal. The portal has a geometrical construction clearly based on the square of 2670 × 2670 mm. The division into thirds is applied in the details of the intersecting stone mouldings. Conclusions of the geometrical analysis suggest that the ratio of width to height of the entire portal could be close to 2 : 3 or 5 : 8 to suggest some consideration, but it was not a primary goal to attain precise ratios. The stone cutter just followed many times repeated geometrical procedure - square and the pointed arch, based on it.
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References Adorno, T. 1997. Aesthetic Theory. R. Hullot-Kentor (trans.). London/New York: Continuum. Bate, J. (Ed.) 1995. Titus Andronicus (The Arden Shakespeare, 3rd Series). London: Arden. Bloom, H. 1998. Shakespeare: The Invention of the Human. New York: New York Publishing Company. Botting, F. and S. Wilson. 2008. ‘Gothspeare and the Origins of Cultural Studies’, in Gothic Shakespeares. Drakakis, J. and D. Townsend (Eds.). UK/USA/Canada: Routledge, pp. 186-201. Buruma, I. 2001. A Japanese Mirror: Heroes and Villains of Japanese Culture. London: Atlantic Books
References Botting, Fred. Gothic. London: Routledge, 1999. Print. Burke, Edmund. “Of the Sublime.” The Gothick Novel. A Casebook. Ed. Victor Sage. Basingstoke: Macmillan, 1990. 33-38. Print. Colley, Linda. Britons. Forging the Nation 1707-1837. New Haven: Yale UP, 2012. Print. Deleuze, Gilles. Difference and Repetition. Trans. Paul Patton. New York: Columbia UP. Web. 20 July 2013. Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. London: Yale Nota Bene, 2000. Print. Kosofsky Sedgwick
intrinsic entanglement with other (non-human) ecologies and species, including “things that glisten, schlup, and decay” ( Morton, 2015 : 250). Morton's views have immediate implications for the next section, which will further unpack the role of the Silverhöjd forest not only as the story's evocative setting, but as its central character and the active proponent of ecological thought. Silverhöjd forest as a Gothic character Despite many critical dimensions a real (or imaginary) forest displays in European – and in particular Swedish – culture, the previous descriptions