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Ann (Out of the Past), 294
awakening, 22, 162, 343–345; distance from nocturnal mourning, 348–349, 367–369; “Dream Story,” 256, 260; ethical reversal, 344–345; film noir, 319, 329, 331–332; forgetting, 346–347; Frankenstein, 239, 243; Freud, 145; Hegel, 70, 84; The House of Mirth, 376–377, 382, 386, 389; Jane Eyre, 233; knowledge gained upon, 346–348; To the Lighthouse, 410–411; The Magic Flute, 9, 13; Middlemarch, 366–367; A Midsummer Night’s Dream, 128; Orlando, 417; possibility of change, 350; renouncing illicit dreams, 350; Romeo and Juliet, 124, 146; “The Sandman,” 203; In Search of Lost Time, 156–157; Studies on Hysteria, 210; The Waves, 425; Wuthering Heights, 166, 170
Bailey, Jeff (Out of the Past), 294–296
Bannion, Katie (The Big Heat), 314
Beyond the Pleasure Principle (Freud), 100–101
Bickle, Travis (Taxi Driver), 265–274
Bronfen, Ingborg Margot Krienes, xii–xiii
Capulet, Rosaline (Romeo and Juliet), 118, 121
Christianity: Helen in Jane Eyre, 228–229; Judeo-Christian cosmogony, 44–47, 50; moral struggles, 178–179; need for Satan, 182
Civilization and its Discontents (Freud), 100
cosmogonies, 1; biblical, three stages of, 51–52; Böhme, 184; Freud, 21, 86–88, 91–92, 101, 103–104; Genesis, 20, 44–51; Hegel, 20–21, 67, 73–75, 80, 83; The House of Mirth, 387; The Magic Flute, 2, 4, 18; Middlemarch, 351; Orphic poetry, 32–34, 41–42; Paradise Lost, 20, 51–64; Studies on Hysteria, 211; Teachings of the Gods, 20, 36–38; Theogony, 20, 29–34, 36–37; The Waves, 424
Dean, Nelly (Wuthering Heights), 166–173
Dencombe (“The Middle Years”), 220
The Dialectic of Enlightenment (Horkheimer and Adorno), 39–40, 295
The Difference Between Fichte’s and Schelling’s System of Philosophy (Hegel), 71, 73
“A Difficulty in the Path of Psychoanalysis” (Freud), 86–87, 207
diurnal law, 17, 21; film noir, 24, 298, 319; Freud, 105, 149; gothic texts and culture, 179, 224; Jane Eyre, 228; The Magic Flute, 9, 13; A Midsummer Night’s Dream, 125; Romeo and Juliet, 120
doubles (doppelgangers): Batman, 222; conversation with oneself, 223; Dr. Jekyll and Mr. Hyde, 222; Fight Club, 222; Frankenstein, 237–244; Freud, 97–98, 223–225, 236; gothic texts and culture, 181, 221–244; Jane Eyre, 225–237; nightlife in the modern city, 248; nocturnal flaneurs, 248, 250, 253–254; paternal authority, 223–224; psychic censorship, 223–225, 231; Satan in Paradise Lost, 224–225; Studies on Hysteria, 209, 211, 213; Sunset Boulevard, 284; Taxi Driver, 269–271; “William Wilson”, 222
Douglas (“The Turn of the Screw”), 220
dreams and dreamscapes, 21–22, 111–112; awakening from, 345–347; “Dream Story,” 255–256, 260–261; Femme Fatale, 329, 333–336; Frankenstein, 239, 243; Freud, 138–139, 144, 146–152; The House of Mirth, 388; Jane Eyre, 231–233; Jesus Christ’s birth, 48; The Magic Flute, 9–10; A Midsummer Night’s Dream, 125, 128–130, 133; Paradise Lost, 56–59, 61–63; Romeo and Juliet, 118–121, 123; The Set-Up, 309–310; Wuthering Heights, 168. See also The Interpretation of Dreams (Freud)
“Dream Story” (Schnitzler), 24, 250, 255–264, 272, 274; Albertine’s dream work, 260–261; awakening, 256, 260; certainty versus radical skepticism, 261–264; comparison to “The Sandman,” 256; fantasies, 255–256, 260, 262–264; Fridolin’s night passage, 257–260; navel of the dream, 262, 264
Dr. Jekyll and Mr. Hyde (Stevenson), 222
Duncan, Bertha (The Big Heat), 314–315
Durden, Tyler (Fight Club), 222
Earnshaw, Catherine (Wuthering Heights), 166–172
Earnshaw, Hareton (Wuthering Heights), 165, 171–173
Easter liturgy (Exultet), 49
Egeus (A Midsummer Night’s Dream), 125–126
Elements of a Philosophy of Right (Hegel), 83–84
Eloge historique de la raison (Voltaire), 194
Encyclopedia of the Philosophical Sciences (Hegel), 20, 67, 70
Enlightenment: comparison to Hegel, 70; concept of night constructed by, 2–3, 15; dialectic of, 3, 14–19, 38; rediscovery of night, 3, 19, 36–38, 65–66; superstition versus reason, 3–6, 9, 13–18, 67
fantasies, 38, 110–111, 223–224; “Dream Story,” 255–256, 260, 262–264; Femme Fatale, 329–330, 336; film noir, 295–300, 302, 304, 306–309, 321, 327, 329; Freud, 88–90, 96, 98–101, 104–105; Hegel, 68; The House of Mirth, 381; Jane Eyre, 226, 230, 236; Macbeth, 186, 193; The Magic Flute, 4, 9, 11; Middlemarch, 354, 358, 364; A Midsummer Night’s Dream, 125–128, 132–133, 135; Odysseus, 40; Paradise Lost, 57; Romeo and Juliet, 122–125; Studies on Hysteria, 206, 210; Taxi Driver, 269, 271; “The Man of the Crowd,” 253; “The Turn of the Screw,” 214; Wieland, 196–197
femmes fatales, 24–25, 293–307; Gilda Mundson Farrell from Gilda, 301–304; Kathie Moffat from Out of the Past, 294–296; Laure Ash from Femme Fatale, 329; Phyllis Dietrichson from Double Indemnity, 298–301; representation of diurnal law, 297–298
Figlia, Mike (Thieves’ Highway), 323–325
film noir, 24–25, 183; awakening, 319, 329, 331–332; The Big Heat, 313–317; comparison to film of 1930s, 291–292; contrasted experiences of men and women in, 308–325; diurnal law, 24, 298, 319; diverging interpretations of justice, 322; dominant themes of, 293; Double Indemnity, 298–301; effect of World War II on, 292; fate and fatal consequences, 326–340; Femme Fatale, 328–340; femmes fatales, 293–307; as gamble, 277–278; Gilda, 301–304; imaginary geography and self-reflexivity of, 289–290; lighting techniques, 278–279; noir heroes, 277–290; origin of term, 291; Out of the Past, 294–296; The Set-Up, 308–312; Sunset Boulevard, 279–290; Thieves’ Highway, 322–325; Touch of Evil, 317–321; voiceover confession, 279–280, 293, 295, 297
Frankenstein, Elizabeth (Frankenstein), 239, 241
Frankenstein, Dr. Victor (Frankenstein), 237–242
Frankenstein (Shelley), 23, 180, 182, 225–226, 237–244, 273; awakening, 239, 243; comparison to Jane Eyre, 238, 240, 242; comparison to Paradise Lost, 237; comparison to Satan from Paradise Lost, 240; comparison to “The Sandman,” 239, 241; expression of guilt, 242; hauntings, 240, 243; moral battles, 239–240, 242
Freud, Sigmund, 21–22, 78, 85–105, 180, 197, 328; aggression, 103–104; attacks on search for happiness, 100, 105; awakening, 145; Beyond the Pleasure Principle, 100–101; Civilization and its Discontents, 100; comparison to Hegel, 88, 92, 94–95; comparison to Milton, 100, 103–104; comparison to Moritz, 89; death, 99–102, 104; “A Difficulty in the Path of Psychoanalysis,” 86–87, 207; doubles (doppelgangers), 97–98, 223–225, 236; dreamscapes, 138–139, 144, 146–152; erotic life drive, 102; fantasies, 88–90; invasion of alien thoughts, 86–88; nocturnal phantasmagoria, 92; nocturnal side of psychic apparatus, 86–90, 92, 99; pressure and counter-pressure, 93–94, 105; repression and return of the repressed, 89–94, 96–98, 100–101; “Resistance and Repression,” 89, 91; spatial conception of the unconscious, 89–90; Studies on Hysteria, 197, 208–213; superego, 103–105; “The Uncanny,” 206; uncanny (unheimlich) versus heimlich, 95–100, 206–207; “The Unconscious,” 88–89; the unknown, 89, 93, 95, 147, 152–155. See also The Interpretation of Dreams (Freud)
Friar Laurence (Romeo and Juliet), 120, 122, 124
Garcos, Nick (Thieves’ Highway), 323–325
Genesis, 20, 44–51; introduction of desire, sin, and death, 46; nocturnal ambivalence, 47, 50; nocturnal side of God, 46–47, 50; origin of day and night, 44–45; spiritual night, 47. See also Paradise Lost (Milton)
Goodnight Moon (Margaret Wise Brown), 136
gothic texts and culture, 19, 23–24, 177–193; damnation versus salvation, 179, 183; demonic seduction, 183; doubles (doppelgangers), 181, 221–244; Frankenstein, 237–244; intersection between earthly existence and the hereafter, 180–181, 195, 215–216; Jane Eyre, 225–237; light of reason, 195–196, 203; Macbeth as forerunner, 184–193; madness, 178, 181, 202–205, 208, 220–221; moral battles, 180–183, 207, 215; psychoanalysis, 197–198, 204, 208, 213, 224; “The Sandman,” 200–206; Studies on Hysteria, 208–213; “The Turn of the Screw,” 214–221; uncanny aspect of the night, 180–181, 195–196, 203, 206, 215; Wieland, 194–199
the governess (“The Turn of the Screw”), 214–220
Grose, Mrs. (“The Turn of the Screw”), 215–216, 218
hauntings, 30, 163, 180, 183, 338; Frankenstein, 240, 243; The House of Mirth, 377; Jane Eyre, 226–227, 230–231; Macbeth, 163–164, 187, 191; Mrs. Dalloway, 398–399, 402; Paradise Lost, 59; Psalms, 47; Romeo and Juliet, 123; “The Sandman,” 204–205; In Search of Lost Time, 159; Studies on Hysteria, 208, 212; according to Theseus, 140; “The Turn of the Screw,” 215–221; Wieland, 195–198; Wuthering Heights, 165–172
Heathcliff (Wuthering Heights), 165–173
Hegel, Georg Wilhelm Friedrich, 20–21, 66–85, 181, 347, 394; the absolute, 67, 70–76, 79; absolute difference between pure light and pure night, 82–83, 279; absolute synthesis, 72; becoming, 73, 77, 79–81; being and non-being, 69, 72–75, 78–81; comparison to Hesiod, 74; cosmogenetic thinking and, 67; determinacy, 81–83; The Difference Between Fichte’s and Schelling’s System of Philosophy, 71, 73; Elements of a Philosophy of Right, 83–84; emergence of consciousness, 68–70; Encyclopedia, 20, 67, 70; the “I”, 68–71, 77–79, 81; Jena Lectures on the Philosophy of Spirit, 68; Logic of Being, 82; mental/spiritual night, 70, 79; night as point of transition, 75–81; night of the I, 81, 85; night of the world, 69–71, 74, 76, 78–79, 84, 159–163, 199, 391–392, 407; non-being, 69; phantasmagorical representations, 69–71, 75–76; Phenomenology of Spirit, 75–77, 79–80; prerequisites for philosophy, 71–73; pure being, 81, 396; pure self, 68–72; Science of Logic, 81; stages of consciousness, 75–78; sustained differentiation, 402–403; traversing all potential modes of thinking and knowing, 70–74, 78, 80, 84
The House of Mirth (Wharton), 25, 345–346, 350, 370–389; awakening, 376–377, 382, 386, 389; ethical deliberations, 373, 376, 378, 381–382; fantasies, 381; flight into the imaginary, 377; gossip, 375, 378; hauntings, 377; jealousy and suspicion, 381; money and spending, 374–376, 381; nocturnal vigilance, 382–383; responsibility for life, 385–386; self-authorship, 386–387; shady transactions, 372–373, 375–376, 378; twilight world, 371–372, 374–376, 379–380, 382, 388
In Search of Lost Time (Proust), 156–160
insomnia: bringing together of two different logics, 160; existence and nothingness, 161–162; Frankenstein, 243; Macbeth, 163–165; Middlemarch, 360, 363; night of the world, 159; nocturnal vigilance, 159–160, 162–163, 165; nuit blanche, 160; philosophers’ view of, 159–163; Proust, 156–160; sleepwalking, 163–164, 208–209; solitude, 160–161; Taxi Driver, 267; textual production and, 164–165, 167; Wuthering Heights, 165–166, 169–170
The Interpretation of Dreams (Freud), 22, 111, 137–155; ambiguity of dreamscape, 148–149; burning child dream, 142–147, 328; bypassing censorship of wakened consciousness, 138–139, 147–151; comparison to A Midsummer Night’s Dream, 138–141, 153–154; comparison to Romeo and Juliet, 146; death as the vanishing point of the real, 146; distortion and difficulty of interpretation, 140–142, 144–145, 147, 150–151, 154; memory of dreams, 150–151; naming of the unknown, 139–142; navel of the dream, 151–155; straddling the unknown, 152, 155; topography of dreams, 147–153; transference, 140–142, 144, 148; transitional period between sleep and waking, 149; unconscious as true psychical reality, 147; waking up and leaving scenes of wish fulfillment, 145–146
Jane Eyre (Brontë), 23, 182, 225–237, 244; awakening, 233; baby-phantom as doppelganger, 231–233; Bertha Mason as doppelganger, 230–234, 236; comparison to Romeo and Juliet, 232; death of a substitute, 229; diurnal law, 228; Edward Rochester as doppelganger, 230, 233; hauntings, 226, 230–231; Helen Burns as doppelganger, 228; moral battles, 227–230, 234–235; spiritual awakening, 236
Jena Lectures on the Philosophy of Spirit (Hegel), 68
Keyes, Barton (Double Indemnity), 300
King Lear (Shakespeare), 326
knowledge and the unknown, 1–3, 66, 343; The Dialectic of Enlightenment, 39–40; Foucault, 19; Freud, 86–87, 89, 93, 95, 147, 152–155; Genesis, 46–47; gothic culture, 84–85; Hegel, 67, 70, 72–73, 76–81, 84; The Interpretation of Dreams, 139–142, 151–155; knowledge gained upon awakening, 346–348; The Magic Flute, 6, 9, 14, 16, 18, 38–39, 65; A Midsummer Night’s Dream, 133–134, 139–142; Orphic poetry, 41–42; Paradise Lost, 51–52, 55–56, 59–64; Romeo and Juliet, 135; Teachings of the Gods, 37–38, 65; Theogony, 31–36; Wuthering Heights, 167
Lagana, Mike (The Big Heat), 314–315
Lee, Bessie (Jane Eyre), 227, 230
Linton, Edgar (Wuthering Heights), 168–172
Logic of Being (Hegel), 82
Los Caprichos (Goya), 67, 97
Lysander (A Midsummer Night’s Dream), 125–133
Macbeth (Shakespeare), 22–23; comparison to Satan’s fall in Paradise Lost, 185, 192; death drive, 190–191; expression of guilt, 163–164, 189, 191–192; fantasies, 186, 193; intersection between earthly existence and the hereafter, 180, 189–190; moral battles, 184–193; moral darkness, 189; murderous ambitions, 185–188; nocturnal ambivalence, 190; nocturnal vigilance, 163–164, 188; transference, 164–165
Machiavelli, Niccolò, xiii
The Magic Flute (Mozart and Schikaneder), 36, 38–40, 64–65, 345, 348; dialectic of Enlightenment, 14–19; dream world, 9–10; Enlightenment versus archaic irrationality (reason versus superstition), 2–9, 13, 15–19; fantasies, 4, 9, 11; humanity and maturity, 8–9, 11; maternal darkness versus paternal light, 2–9, 11–12, 14; modern rediscovery of night, 2–3; morality, 8–12, 18; musical styles, 5, 8; nocturnal ambivalence, 4–5, 9; psychic night, 14, 17, 182
Marianne (from “Dream Story”), 258, 261
masculinization of night: Bible, 50; To the Lighthouse, 411; Paradise Lost, 51
Mason, Richard, (Jane Eyre), 231, 234
maternal darkness versus paternal light: Genette, 110; The Magic Flute, 2–9, 11–12, 14; navel of the dream, 154
Max (Norma Desmond’s butler in Sunset Boulevard), 282, 284–288
Meditations (Descartes), 67, 249
Menzies, Pete (Touch of Evil), 319–320
The Merchant of Venice (Shakespeare), 112–114, 116
Michael (Paradise Lost), 55, 61
Middlemarch (Eliot), 25, 345–346, 350–369, 372–373; awakening to clarity, 366–367; as cosmogony, 351; distance from nocturnal mourning, 367–369; fantasies, 354, 358, 364; flight into the imaginary, 365–366; insomnia, 360, 363; jealousy, 360–365; moral deliberations, 353–357, 361–363; psychic night, 357–358; ubiquity of death, 361
“The Middle Years” (James), 220
A Midsummer Night’s Dream (Shakespeare), 22, 114–115, 125–135, 137, 139–142, 149, 162, 186, 221, 302–303, 347; awakening, 128; comparison to The Interpretation of Dreams, 138–141, 153–154; comparison to Romeo and Juliet, 126, 128–134; diurnal law, 125; dreams, 125, 128–130, 133; fantasies, 125–128, 132–133, 135; obedience, 125–126; rites de passage, 111, 115; the unknown, 133–134, 139–142
Miles (“The Turn of the Screw”), 214–219
Mizzi (“Dream Story”), 258, 261
Moffat, Kathie (Out of the Past), 294–296
the Moirai (the Fates), 30–31
Monostatos (The Magic Flute), 5
Montague, Romeo (Romeo and Juliet), 115–124
moral struggles: development of notions of good and evil, 8; Frankenstein, 239–240, 242; Genesis, 46; gothic texts and culture, 180–183, 207, 215; The House of Mirth, 373, 376, 378, 381–382; Jane Eyre, 227–230, 234–235; Macbeth, 184–193; The Magic Flute, 8–12, 18; The Merchant of Venice, 112–113; Middlemarch, 353–357, 361–363; Nietzsche, 8; nocturnal flaneurs, 255–264, 267–272; Paradise Lost, 59; Theogony, 31; Voltaire, 194; Wieland, 194
Moulin Rouge! (2001), 246
Much Ado About Nothing (Shakespeare), 371
Mysteries of Paris (Sue), 246
Nachtigal (“Dream Story”), 259, 261
Nachtstücke (Night Pieces) (Hoffman), 200
naming, overcoming fear of primordial night through, 2–3
Nietzsche, Friedrich, 8, 18, 152
Night (Paradise Lost), 54–55
nocturnal ambivalence: biblical cosmogony, 47, 50; The Dialectic of Enlightenment, 39–40; Freud, 95; Genesis, 47, 50; Macbeth, 190; The Magic Flute, 4–5, 9; Nyx, 25; Paradise Lost, 51–52, 63–64; “The Sandman,” 205; Thieves’ Highway, 324–325
nocturnal flaneurs: Baudelaire, 245–246; certainty versus radical skepticism, 261–264; doubles (doppelgangers), 248, 250, 253–254; “Dream Story,” 255–264; “The Man of the Crowd,” 250–254; moral battles, 255–264, 267–272; mystery of the dark city, 250, 252; radical skepticism, 249, 268; Taxi Driver, 264–274; transformation of the urban night, 246–247
nocturnal vigilance, 32, 155, 165; awakening, 346, 348; The House of Mirth, 382–383; insomnia, 159–160, 162–163, 165; Macbeth, 163–164, 188; The Set-Up, 312; Studies on Hysteria, 209–210; “The Turn of the Screw”, 216; Wuthering Heights, 170–171, 173
noir heroes, 277–280, 308, 313; The Big Heat, 313–315, 317; contrasted experiences of men and women in film noir, 308–325; femmes fatales and, 296–297; Out of the Past, 294–296; The Set-Up, 309–312; Sunset Boulevard, 280–290; Thieves’ Highway, 323–325; Touch of Evil, 318–321. See also film noir
noir heroines, 297–298, 307–309, 313; The Big Heat, 314–317; contrasted experiences of men and women in film noir, 308–325; fate and fatal consequences, 328; Femme Fatale, 329–340; The Set-Up, 309–312; Thieves’ Highway, 322–325; Touch of Evil, 318–321. See also femmes fatales; film noir
the Nurse (Romeo and Juliet), 120, 122
Nyx, 2, 13, 29–43, 53–54, 64; abode of, 34–35; association between the night and the feminine, 30, 36; comparison of Orphic poetry and Theogony, 32–34; comparison to Freud’s exploration of the uncanny, 99–100; comparison to Genesis, 46; comparison to the Virgin Mary, 177; comparison to Sin from Paradise Lost, 53–54; as conveyor of divine pronouncements, 35; as creative power, 30; double position of, 20; dual role of, 31, 34, 36–37; as figuration of a position of ambivalence, 25; The Interpretation of Dreams as journey back to, 146–147; journey to the end of the night, 345; line of demarcation between chaos and order, 30–32, 36; modern reconfigurations of, 39–43; as nurturing mother, 34; origin of, 30; psychic conditions ascribed to family of, 30–31; punitive law and punishment, 30–31; re-emergence of at height of Enlightenment, 36–38, 66
obedience: Genesis, 46; The Magic Flute, 4–7, 17; A Midsummer Night’s Dream, 125–126; Paradise Lost, 55, 57, 59, 61–63; Romeo and Juliet, 115–117, 120
On the Genealogy of Morality (Nietzsche), 8, 18
other night (autre nuit): “Dream Story,” 257; The House of Mirth, 25, 386–387; To the Lighthouse, 409, 411–413; Middlemarch, 369; Mrs. Dalloway, 402–404; Orlando, 414, 416–417, 419–420; Orphic poetry, 41; Taxi Driver, 265, 273; The Waves, 421, 425, 427
Palantine (Taxi Driver), 268, 270
Pandora’s Box (1929), 246
Paradise Lost (Milton), 20, 51–64; comparison to gothic texts, 182, 184; comparison to Nyx, 53–54; counter-cosmogenetic force, 57–58; desire for knowledge, 51–52, 55–56, 59; dispersal of darkness, 55, 57; exorcism of forces of darkness, 55; fantasies, 57; guilt, repentance, and redemption, 59–63; nocturnal ambivalence, 51–52, 63–64; nocturnal side of God, 51, 55, 59; obedience, 55, 57, 59, 61–63; redemonization of night, 52–53, 56, 60
Phanes (from Orphic poetry), 33, 36
Pierrette (“Dream Story”), 259, 261
Poe, Edgar Allan: “The Man of the Crowd,” 24, 250–254, 273; “William Wilson,” 222
primordial night: fear of, 1–2, 4–5; Freud, 92; Hegel, 67, 73, 77, 83–85; indeterminacy of, 2; Woolf, 391, 397
Queen of the Night (The Magic Flute), 3–16, 18, 20, 36, 38–40, 64–65, 182, 345; allegorical function of, 3–5, 15; dialectic of Enlightenment, 14–16, 18; Enlightenment versus archaic irrationality (reason versus superstition), 3; as harbinger of dreams, 9; maternal darkness versus paternal light, 3–9, 11–12, 14; nocturnal ambivalence, 4; values attributed to, 6; vengeance, 6–7
Quinlan, Hank (Touch of Evil), 318–321
Quint, Peter (“The Turn of the Screw”), 215, 217, 219
Raffles, John (Middlemarch), 355–356
Ramsey, James (To the Lighthouse), 405, 409, 411
Raphael (Paradise Lost), 57–58
Reason (Eloge historique de la raison), 194
“Resistance and Repression” (Freud), 89, 91
rites de passage: The Big Heat, 313; The Magic Flute, 5–6, 8, 12, 16–18; A Midsummer Night’s Dream, 111, 115; nocturnal flaneurs, 344; Romeo and Juliet, 111, 115
Rochester, Edward (Jane Eyre), 230–237
Romeo and Juliet (Shakespeare), 22, 111, 114–125, 135, 423; awakening, 124, 146; comparison to A Midsummer Night’s Dream, 126, 128–134; comparison to The Interpretation of Dreams, 146; comparison to Jane Eyre, 232; comparison to A Midsummer Night’s Dream, 126, 128–134; comparison to Wuthering Heights, 168–170; diurnal law, 120; dreams and dreamscapes, 118–121, 123; fantasies, 122–125; hauntings, 123; obedience, 115–117, 120; rites de passage, 111, 115; the unknown, 135
Rosedale, Simon (The House of Mirth), 373, 378
the Sandman (Coppelius) (“The Sandman”), 201
“The Sandman” (Hoffmann), 23, 180, 200–206, 239, 241, 256, 322, 349–350; awakening, 203; comparison to “Dream Story,” 256; comparison to Frankenstein, 239, 241; comparison to Studies on Hysteria, 210, 212; comparison to “The Turn of the Screw,” 215; comparison to Wieland, 200, 202–203, 206; Freud’s reading of, 208; hauntings, 204–205; nocturnal ambivalence, 205
Satan (Lucifer): from the Bible, 46–50, 179; in Paradise Lost, 51–63, 87, 103, 182–184, 207, 224–225, 237, 240
Schivelbusch, Wolfgang, 247, 264
Science of Logic (Hegel), 81
Seton, Sally (Mrs. Dalloway), 398
Shakespeare, William, 22–23, 109–135; amorous encounters in darkness, 116–117, 120–123, 125–127, 130–131; hatred manifest in daylight, 117–123; King Lear, 326; linguistic performance of night, 114–117; The Merchant of Venice, 112–114, 116; Much Ado About Nothing, 371; night as stage for transgression, 112–114. See also A Midsummer Night’s Dream (Shakespeare); Macbeth (Shakespeare); Romeo and Juliet (Shakespeare)
Shelley, Percy Bysshe, 243
Ship of Dreams (Dean Morrissey), 137
Shylock (The Merchant of Venice), 113, 415
Sleep Book (Dr. Seuss), 136
Sorry, Wrong Number (1948), 304–306
Spalanzani (“The Sandman”), 202–203
Sterling, Whit (Out of the Past), 294
Stevenson, Henry (Sorry, Wrong Number), 304–306
Stevenson, Leona (Sorry, Wrong Number), 304–307, 327
Stevenson, Robert Louis, 222
Stone, Vince (The Big Heat), 315–316
Struther, Nettie (The House of Mirth), 384–385, 388
Studies on Hysteria (Freud and Breuer), 197, 208–213
Sunset Boulevard (1950), 279–290, 297, 327, 331, 335, 339; comparison to “Dream Story,” 285; doubles (doppelgangers), 284; requirement of darkness for re-emergence, 284, 286; sleepwalking, 284, 286–289; spectral resuscitation, 284–285
Taxi Driver (1976), 24, 250; comparison to “Dream Story,” 267, 272, 274; comparison to “Evening Twilight,” 267; doubles (doppelgangers), 269–271; fantasies, 269, 271; navel of the dream, 272–273; opening credit sequence, 266
Thompson, Julie (The Set-Up), 309–312
the Three Boys (The Magic Flute), 13, 17
the Three Ladies (The Magic Flute), 16
Tree of Knowledge: from Genesis, 46; from Paradise Lost, 56, 59
“The Turn of the Screw” (James), 23, 180, 182, 214–221; comparison to “The Sandman,” 215; comparison to Studies on Hysteria, 219; fantasies, 214; hauntings, 215–221; nocturnal vigilance, 216
“The Uncanny” (Freud), 206
“The Unconscious” (Freud), 88–89
Vargas, Mike (Touch of Evil), 318–320
Vargas, Susan (Touch of Evil), 318–319
Views on the Dark Side of Science (Schubert), 199
the Virgin Mary: in the Bible, 177, 345; in Paradise Lost, 62
Wayne, Bruce (Batman), 222
Where the Wild Things Are (Maurice Sendak), 137
Wieland (Brown), 23, 180, 194–199; comparison to Macbeth, 195; comparison to “The Sandman,” 200, 202–203, 206; comparison to Studies on Hysteria, 208, 213; hauntings, 195–198; moral battles, 194
Wieland, Catharine (Wieland), 195–196
Wieland, Theodore (Wieland), 195–198
Wilder, Billy, 298–299, 377; Double Indemnity, 298–301, 304, 319, 330–335, 339; Sunset Boulevard, 279–290, 297, 327, 331, 335, 339
“William Wilson” (Poe), 222
Woolf, Virginia, 25–26, 345–346, 386; awakening, 410–411, 416, 425; comparison to Heidegger, 394–397; counting life in nights, 404–405, 410, 428; death drive, 401–403; diary of, 390–391, 428; double night, 394; horizon as line of demarcation, 421, 427; To the Lighthouse, 345, 405–413, 427; Mrs. Dalloway, 345, 397–405, 414, 427; nothingness, 390–393, 395–397, 399–400, 404, 410, 422, 425, 428; Orlando, 345, 414–420; other night, 402–404, 409, 411–414, 416–417, 419–421, 425, 427–428; placeholders of the nocturnal, 405–407; process of becoming only to disappear again, 393–394; pure self and pure night, 392, 407, 414, 418; resignation to growing old, 424; The Waves, 25–26, 345, 393, 420–426; writing as feminine and nocturnal seduction, 416–419
Wuthering Heights (Brontë), 22, 111, 165–173; awakening, 166, 170; comparison to Romeo and Juliet, 168–170; dreams, 168; hauntings, 165–172; nocturnal encounters, 169, 171; nocturnal vigilance, 170–171, 173; psychic nocturnality, 170; spiritual night, 172; the unknown, 167
