Gothic Literary Studies – serie

Defines the American Gothic and places it both within the context of the major movements of intellectual history and also within the context of the main issues of American culture.

Why, at a time when the majority of us no longer believe in ghosts, demons or the occult, does Gothic continue to have such a strong grasp upon literature, cinema and popular culture? This book answers the question by exploring some of the ways in which we have applied Gothic tropes to our everyday fears. The book opens with The Turn of the Screw, a text dealing in the dangers adults pose to children whilst simultaneously questioning the assumed innocence of all children. Staying with the domestic arena, it explores the various manifestations undertaken by the haunted house during the twentieth century, from the bombed-out spaces of the blitz ('The Demon Lover' and The Night Watch) to the designer bathrooms of wealthy American suburbia (What Lies Beneath). The monsters that emerge through the uncanny surfaces of the Gothic can also be terror monsters, and after a discussion of terrorism and atrocity in relation to burial alive, the book examines the relationship between the human and the inhuman through the role of the beast monster as manifestation of the evil that resides in our midst (The Hound of the Baskervilles and The Birds). It is with the dangers of the body that the Gothic has been most closely associated and, during the later twentieth century, paranoia attaches itself to skeletal forms and ghosts in the wake of the HIV/AIDS crisis. Sexuality and/as disease is one of the themes of Patrick McGrath's work (Dr Haggard's Disease and 'The Angel') and the issue of skeletons in the closet is also explored through Henry James's 'The Jolly Corner'. However, sexuality is also one of the most liberating aspects of Gothic narratives. After a brief discussion of camp humour in British television drama series Jekyll, the book concludes with a discussion of the apparitional lesbian through the work of Sarah Waters.

Defining the American gothic tradition both within the context of the major movements of intellectual history over the past three-hundred years, as well as within the issues critical to American culture, this comprehensive volume covers a diverse terrain of well-known American writers, from Poe to Faulkner to Toni Morrison and Cormac McCarthy. Charles L. Crow demonstrates how the gothic provides a forum for discussing key issues of changing American culture, explores forbidden subjects, and provides a voice for the repressed and silenced.

History of the Gothic: Gothic Literature 1764-1824 offers a detailed and accessible introduction to classic British Gothic literature and the popular sub-genre of the Female Gothic. Works by such classic Gothic authors as Horace Walpole, Matthew Lewis, Ann Radcliffe, William Godwin and Mary Shelley are examined against the backdrop of eighteenth and nineteenth century British social and political history as well as significant intellectual and cultural developments of the period. Examination of the Gothic's changing literary 'architecture' - its key motifs and conventions - is provided together with an overview of its critical history, an assessment of various theoretical approaches, suggestions for further reading, and a timeline of relevant events and publications.

History of the Gothic: Gothic Literature 1825-1914 is a detailed and accessible study of Gothic literature in the nineteenth century. It examines how the themes and tropes associated with the early Gothic novel were diffused widely in many different genres in the Victorian period, including the ghost story, the regional novel, children's literature and the realist novel. It looks in particular at how the Gothic attempted to resolve the psychological and theological problems thrown up by the modernization and secularization of British society. The book argues that the fetishized figure of the child came to stand for what many believed was being lost by the headlong rush into a technological and industrial future. The relationship between regionalism and horror is examined, the use of the occult in the Gothic is detailed and the book demonstrates that, far from being a simple rejection or acceptance of secularization, the Gothic attempts to articulate an entirely different way of being modern.

History of the Gothic: Gothic Literature 1825-1914 is a detailed and accessible study of Gothic literature in the nineteenth century. It examines how the themes and tropes associated with the early Gothic novel were diffused widely in many different genres in the Victorian period, including the ghost story, the regional novel, children's literature and the realist novel. It looks in particular at how the Gothic attempted to resolve the psychological and theological problems thrown up by the modernization and secularization of British society. The book argues that the fetishized figure of the child came to stand for what many believed was being lost by the headlong rush into a technological and industrial future. The relationship between regionalism and horror is examined, the use of the occult in the Gothic is detailed and the book demonstrates that, far from being a simple rejection or acceptance of secularization, the Gothic attempts to articulate an entirely different way of being modern.

This book constitutes the first sustained analysis that comprehensively proves that revision is required of the critical commonplace idea in Gothic scholarship that the roots of the Gothic novel should be seen within a late eighteenth century popular anti-Catholicism. Whereas scholarship has always maintained that the Catholic motifs contained in Gothic novels (monks, nuns, abbeys, confessionals) signify anti-Catholic prejudice and anti-Church subversiveness on the part of the author and his/her audience, this study argues that the Gothic was neither anti-Catholic nor anti-Church, and that England was much more sympathetic towards Catholicism during the long eighteenth century - particularly during and immediately after the French Revolution - than has previously been supposed. As well as discussing several new Gothic texts within this context, this study unveils the extent of English appreciation of Catholicism - often represented by an appropriation of Catholic aesthetics - and the French Catholic 'sentimental' origins of many of Gothic's supposedly 'diabolically dissident' themes and motifs. The book tus brings to light many new aspects both of the Gothic genre and of an important era in British history.

This collection of essays explores the thesis that Shakespeare as we know him today was born in the eighteenth century, at the same time as the Gothic tradition, first named by Horace Walpole in 1764. The two are inextricable. Writers interested in pursuing 'Gothic' themes and forms (the supernatural events and generic hybrids decried by French neoclassicism) justified their aesthetic choices as following the example of their great - and emphatically English - precursor. They cited him in their epigraphs and appropriated his narratives. They echoed his language and imitated his dramatic devices. Like Shakespeare, they explored the ways in which familial ghosts may haunt the present. Like him, they mixed modes and genres: tragedy and comedy, verse and prose. Together, critics of Shakespeare and creators of the Gothic (often one and the same author) not only canonized England's secular saint and created a new literary mode; they collectively initiated a mode of subjectivity that remains with us today in both high and popular culture.

This collection of essays explores the thesis that Shakespeare as we know him today was born in the eighteenth century, at the same time as the Gothic tradition, first named by Horace Walpole in 1764. The two are inextricable. Writers interested in pursuing 'Gothic' themes and forms (the supernatural events and generic hybrids decried by French neoclassicism) justified their aesthetic choices as following the example of their great - and emphatically English - precursor. They cited him in their epigraphs and appropriated his narratives. They echoed his language and imitated his dramatic devices. Like Shakespeare, they explored the ways in which familial ghosts may haunt the present. Like him, they mixed modes and genres: tragedy and comedy, verse and prose. Together, critics of Shakespeare and creators of the Gothic (often one and the same author) not only canonized England's secular saint and created a new literary mode; they collectively initiated a mode of subjectivity that remains with us today in both high and popular culture.

Republicanism and the American Gothic is a comparative study of British and American literature and culture in the late eighteenth and mid-twentieth centuries. Offering an alternative to the psychological readings of the Gothic, this book explores the republican tradition of the British Enlightenment with a focus on the transatlantic influence of seventeenth and eighteenth century libertarian and anti-authoritarian thought on British and American revolutionary culture. Viewing republicanism as a panic-ridden ideology, it is argued that the revolutionary fears of corruption, degeneration and tyranny supply a fertile ground for the development of a Gothic tradition in America. The book then examines the continuing relevance of these fears in Cold War America. It is suggested that the aesthetic, moral and political imperatives that characterized republicanism in the late eighteenth century re-emerge in the post-war era as an antidote to the contemporary fears of communism, conformity and mass culture.

This book explores Postcolonial Gothic in four different locations, providing a comparative analysis of the way the Gothic has provided postcolonial writers with a means to express the anxieties of postcolonial experience and the traumatic legacies of colonialism, expressed through novels, short stories and poetry. Most of the texts examined are contemporary, including those by Derek Walcott, Shani Mootoo, Margaret Atwood, Peter Carey and Keri Hulme. The book provides a timely addition to the study of the postcolonial. Popular forms in relation to the postcolonial have been a relatively neglected area of study and this is particularly true of the Gothic, despite its prevalence in postcolonial literature. The book contains six chapters: an introduction and theoretical overview, conclusion, and chapters on Caribbean Gothic, Canadian Gothic, Australian Gothic and New Zealand Gothic, to provide an overview of the Gothic in the national or regional context, placing the emphasis on the postcolonial and focusing on the way the Gothic is utilised by white settlers and indigenous people in Canada, Australia and New Zealand, by the descendents of people forcibly mobilised through slavery in the Caribbean, and by other more recent migrants to, or between these locations.

This book examines how Wilkie Collins's interest in medical matters developed in his writing through explorations of his revisions of the late eighteenth century Gothic novel, from his first sensation novels to his last novels of the 1880s. Throughout his career, Collins made changes in the prototypical Gothic scenario. The aristocratic villains, victimized maidens and medieval castles of classic Gothic tales were reworked and adapted to thrill his Victorian readership. With the advances of neuroscience and the development of criminology as a significant backdrop to most of his novels, Collins drew upon contemporary anxieties and used the medical more and more to propel his criminal plots. While the archetypal castles were turned into modern medical institutions, his heroines no longer feared ghosts but the scientist's knife. This study underlines the way in which Collins's Gothic adaptations increasingly tackled medical questions, using the medical terrain to capitalize on the readers' fears. It demonstrates how Wilkie Collins's fiction revised Gothic themes and presented them through the prism of contemporary scientific, medical and psychological discourses, from debates revolving around mental physiology to those dealing with heredity and transmission. The book's structure is chronological, covering a selection of texts in each chapter; with a balance between discussion of the more canonical of Collins's texts, such as The Woman in White, The Moonstone and Armadale, and some of his more neglected writings.

This book is a comparative study of British and American literature and culture in the 1790s and 1950s. It explores the republican tradition of the British Enlightenment and the effect of its translation and migration to the American colonies. Specifically, it examines in detail the transatlantic influence of seventeenth- and eighteenth-century libertarian and anti-authoritarian thought on British and American Revolutionary culture.

Examines how themes and trends associated with the early Gothic novels were diffused in many genres in the Victorian period, including the ghost story, the detective story and the adventure story.

Defining the American gothic tradition both within the context of the major movements of intellectual history over the past three-hundred years, as well as within the issues critical to American culture, this comprehensive volume covers a diverse terrain of well-known American writers, from Poe to Faulkner to Toni Morrison and Cormac McCarthy. Charles L. Crow demonstrates how the gothic provides a forum for discussing key issues of changing American culture, explores forbidden subjects, and provides a voice for the repressed and silenced.

Offers an introduction to British Gothic literature. This book examines works by Gothic authors such as Horace Walpole, Matthew Lewis, Ann Radcliffe, William Godwin and Mary Shelley against the backdrop of eighteenth-and-nineteenth-century British social and political history.

This book explores the paradox that the Gothic (today's werewolves, vampires, and horror movies) owe their origins (and their legitimacy) to eighteenth-century interpretations of Shakespeare. As Shakespeare was being established as the supreme British writer throughout the century, he was cited as justification for early Gothic writers' fascination with the supernatural, their abandoning of literary "decorum," and their fascination with otherness and extremes of every kind. This book addresses the gap for an up to date analysis of Shakespeare's relation to the Gothic. An authority on the Gothic, E.J. Clery, has stated that "It would be impossible to overestimate the importance of Shakespeare as touchstone and inspiration for the terror mode, even if we feel the offspring are unworthy of their parent. Scratch the surface of any Gothic fiction and the debt to Shakespeare will be there." This book therefore addresses Shakespeare's importance to the Gothic tradition as a whole and also to particular, well-known and often studied Gothic works. It also considers the influence of the Gothic on Shakespeare, both in-print and on stage in eighteenth- and nineteenth-century Britain. The introductory chapter places the chapters within the historical development of both Shakespearean reception and Gothic Studies. The book is divided into three parts: 1) Gothic Appropriations of "Shakespeare"; 2) Rewriting Shakespearean Plays and Characters; 3) Shakespeare Before/After the Gothic.

This book examines how Wilkie Collins's interest in medical matters developed in his writing through exploration of his revisions of the late eighteenth-century Gothic novel from his first sensation novels to his last novels of the 1880s. Throughout his career, Collins made changes in the prototypical Gothic scenario. The aristocratic villains, victimized maidens and medieval castles of classic Gothic tales were reworked and adapted to thrill his Victorian readership. With the advances of neuroscience and the development of criminology as a significant backdrop to most of his novels, Collins drew upon contemporary anxieties and increasingly used the medical to propel his criminal plots. While the prototypical castles were turned into modern medical institutions, his heroines no longer feared ghosts but the scientist's knife. This study hence underlines the way in which Collins's Gothic revisions increasingly tackled medical questions, using the medical terrain to capitalize on the readers' fears. It also demonstrates how Wilkie Collins's fiction reworks Gothic themes and presents them through the prism of contemporary scientific, medical and psychological discourses, from debates revolving around mental physiology to those dealing with heredity and transmission. The book's structure is chronological covering a selection of texts in each chapter, with a balance between discussion of the more canonical of Collins's texts such as The Woman in White, The Moonstone and Armadale and some of his more neglected writings.

Stephen King is the world's best-selling horror writer. His work is ubiquitous on bookstore, supermarket, and personal library shelves and has been faithfully adapted into some of the most iconic horror films of the twentieth century. This study explores his writing through the lenses of contemporary literary and cultural theory. Through analyses of some of his best-known work, including "Carrie" and "Misery," the authors argue that King offers ways of encountering and understanding some of our deepest fears about life and death, the past and the future, technological change, other people, monsters, ghosts, and the supernatural.This is the first extended critical-theoretical engagement with King's writing, and will be of interest to students, academics, and fans of horror fiction.

Stephen King is the world's best-selling horror writer. His work is ubiquitous on bookstore, supermarket, and personal library shelves and has been faithfully adapted into some of the most iconic horror films of the twentieth century. This study explores his writing through the lenses of contemporary literary and cultural theory. Through analyses of some of his best-known work, including "Carrie" and "Misery," the authors argue that King offers ways of encountering and understanding some of our deepest fears about life and death, the past and the future, technological change, other people, monsters, ghosts, and the supernatural.This is the first extended critical-theoretical engagement with King's writing, and will be of interest to students, academics, and fans of horror fiction.

Why, at a time when the majority of us no longer believe in ghosts, demons or the occult, does Gothic continue to have such a strong grasp upon literature, cinema and popular culture? This book answers the question by exploring some of the ways in which we have applied Gothic tropes to our everyday fears. The book opens with The Turn of the Screw, a text dealing in the dangers adults pose to children whilst simultaneously questioning the assumed innocence of all children. Staying with the domestic arena, it explores the various manifestations undertaken by the haunted house during the twentieth century, from the bombed-out spaces of the blitz ('The Demon Lover' and The Night Watch) to the designer bathrooms of wealthy American suburbia (What Lies Beneath). The monsters that emerge through the uncanny surfaces of the Gothic can also be terror monsters, and after a discussion of terrorism and atrocity in relation to burial alive, the book examines the relationship between the human and the inhuman through the role of the beast monster as manifestation of the evil that resides in our midst (The Hound of the Baskervilles and The Birds). It is with the dangers of the body that the Gothic has been most closely associated and, during the later twentieth century, paranoia attaches itself to skeletal forms and ghosts in the wake of the HIV/AIDS crisis. Sexuality and/as disease is one of the themes of Patrick McGrath's work (Dr Haggard's Disease and 'The Angel') and the issue of skeletons in the closet is also explored through Henry James's 'The Jolly Corner'. However, sexuality is also one of the most liberating aspects of Gothic narratives. After a brief discussion of camp humour in British television drama series Jekyll, the book concludes with a discussion of the apparitional lesbian through the work of Sarah Waters.

This book reveals some of the exciting inter-relations between Gothic Horror literature, film and magic lantern shows. It is an innovative work, providing new insights into how Gothic Horror as a whole started, with the genesis of the Frankenstein films, and encourages the reader to think of the relations between such books and films as one vibrant set of energies. It examines the connection between Gothic and film studies and the media. Jones provides a useful referencing tool for academic departments and explores the advent of film in the 1890's and its relation to French Symbolist literature, and the Lumieres Brothers, as well as the link between Schiller, de Sade and Robertson's Fantasmagorie.

This book provides new insights into how Gothic Horror as a whole started, and encourages the reader to think of the relations between such books and films as one vibrant set of energies.

Gothic Contemporaries: The Haunted Text is the first of its kind to align selected 21st century fiction with a revised understanding of the gothic through themes such as signification, communication, ethics, inheritance and currency.

Gothic Contemporaries: The Haunted Text is the first of its kind to align selected 21st century fiction with a revised understanding of the gothic through themes such as signification, communication, ethics, inheritance and currency.

The Queer Uncanny: New Perspectives on the Gothic investigates the roles played by the concept of the uncanny, as defined by Sigmund Freud and other theorists, in the representation of lesbian and male gay sexualities and transgender in a selection of contemporary British, American and Caribbean fiction published 1980-2007. Novels by Christopher Bram, Philip Hensher, Alan Hollingurst, Randall Kenan, Shani Mootoo, Sarah Schulman, Ali Smith, Sarah Waters, Jeanette Winterson and other writers receive analysis in the context of queer theory and gothic critical writing. Topics discussed include: secrets and their disclosure, queer spectrality, the homely/ unhomely house, the grotesque, lesbian social invisibility, transgender doubles, and the intersection between sexuality and race.

The Queer Uncanny: New Perspectives on the Gothic investigates the roles played by the concept of the uncanny, as defined by Sigmund Freud and other theorists, in the representation of lesbian and male gay sexualities and transgender in a selection of contemporary British, American and Caribbean fiction published 1980-2007. Novels by Christopher Bram, Philip Hensher, Alan Hollingurst, Randall Kenan, Shani Mootoo, Sarah Schulman, Ali Smith, Sarah Waters, Jeanette Winterson and other writers receive analysis in the context of queer theory and gothic critical writing. Topics discussed include: secrets and their disclosure, queer spectrality, the homely/ unhomely house, the grotesque, lesbian social invisibility, transgender doubles, and the intersection between sexuality and race.

This volume investigates the roles played by the concept of the uncanny, as defined by Sigmund Freud and other theorists, in the representation of lesbian and male gay sexualities and transgender in a selection of contemporary British, American and Caribbean fiction published 1980-2007.

Queer Others in Victorian Gothic: Transgressing Monstrosity explores the intersections of Gothic, cultural, gender, queer, socio-economic and postcolonial theories in nineteenth-century British representations of sexuality, gender, class and race. From mid-century authors like Wilkie Collins and Elizabeth Gaskell to fin-de-siecle writers such as J. Sheridan Le Fanu, Florence Marryat and Vernon Lee, this study examines the ways that these Victorian writers utilized gothic horror as a proverbial 'safe space' in which to grapple with taboo social and cultural issues. This work simultaneously explores our current assumptions about a Victorian culture that was monolithic in its disdain for those who were 'other'.