1. 1 Terry Eagleton, ‘The ideology of the aesthetic’, in The Politics of Pleasure: Aesthetics and Cultural Theory, ed. Stephen Regan, Buckingham 1992, pp. 17-31 (p. 21).
2. 2 Immanuel Kant, ‘Beobachtungen über das Gefühl des Schönen und Erhabenen’, in Werke, vol. I: Vorkritische Schriften bis 1768, ed. Wilhelm Weischedel, Wiesbaden 1960, pp. 825-84.
3. 3 In Michael Thalheimer's brilliant production at the Deutsches Theater Berlin, premiered in 2001, rather than death Emilia chooses to join the dancing couples circling the stage.
4. 4 On sublime villains and heroes see Emma McEvoy, ‘Gothic and the Romantics’, in The Routledge Companion to Gothic, ed. Catherine Spooner and Emma McEvoy, London 2007, pp. 19-28, esp. pp. 24-7.
5. 5 In Malina (1970) the subject is divided into a male aspect, Malina, and the female self whom Malina banishes behind the wall when love interferes with writing. But the murder of the narrating ‘ich’ puts an end to writing anyway.