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Kirsten Stirling


This paper considers Fight Club (both Chuck Palahniuk’s novel and David Fincher’s film) as a “refraction” of James Hogg’s Justified Sinner and R. L. Stevenson’s Jekyll and Hyde. Fight Club reworks the Gothic topos of the Doppelgänger in a twentiethcentury American urban context, and, like its nineteenth-century predecessors, it can be read both psychologically and supernaturally.