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Concurrent with the rise of scholarship examining the socio-historical and cultural construction of British national identity, there has been renewed critical interest in this novel in recent years. Michael Ragussis employs Harringt01z to illustrate both the ongoing negotiation throughout the nineteenth century between British national identity and Jewish Emancipation, and the oppressively powerful nature of conversion as 'the literary and cultural master trope by which Jewish identity is represented and regulated' (Figures: 86).

The trope of the Jew as an uncanny or ghostlike figure is especially evident in cultural criticism. Tamar Garb has asserted, for example, that the Jew has long 'haunted the Gentile imagination', functioning alternately as its [Western Christian culture's] conscience, its alter ego, its abject, its Other' (20), and Bryan Cheyette has described the figure of the Jew as 'deeply embedded in the unconscious' (3). ', that the Jew is a type of Jungian archetype that emanated from the British collective unconscious.

In the wake of these varied studies of Gothic literature and the nation, I would contend that the Wandering Jew is a particularly exemplary figure upon which to focus my critical lens. Always cloaked in mystery and increasingly figured as a villain, the Wandering Jew does help to establish, generally by way of contrast, the image of the ideal Briton as characterized by 'masculinity, hygiene and citizenship'. Certain energies and ideas, however, cannot be entirely reined in. While this anti-citizen enables the consolidation of this ideal, he also contests it, thus assuming the role of what Jay Salisbury has playfully and adeptly described as the Wandering feu.

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