Pub Date : 2024-07-01DOI: 10.3366/gothic.2024.0198
Sonja Lawrenson, Matt Foley
From Roberto Jorge Payró’s Violines y toneles (1908) to Álvaro Mutis’s Maqroll novellas (1986–1993), Maturin’s Melmoth the Wanderer (1820) repeatedly resurfaces across Latin America’s shifting cultural landscapes of the twentieth century. This article argues that the text’s influence testifies to the malleability and dynamism of Gothic’s transnational transmission from the late eighteenth century to the present day. Drawing on the concept of ‘globalgothic’, it traces the elaborate nexus of cultural and political channels through which Melmoth circulated in Latin America. The mapping of Melmoth’s journey across Latin America reveals a world of gothic interchange that traverses and, at times, transcends national, temporal, and generic boundaries. In so doing, this article situates the text and its afterlives within an intricate yet uneven economy of colonial and postcolonial exchange where generic and national hierarchies are often mutually reinforcing but equally unstable. Ultimately, Melmoth’s Latin American afterlives evidence a dynamic interplay between nation, genre, and form in the globalgothic.
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Pub Date : 2024-07-01DOI: 10.3366/gothic.2024.0196
Lisa Lampert-Weissig
Charles Maturin’s Melmoth the Wanderer (1820) draws from the legend of the Wandering Jew, infusing the figure with Faustian characteristics in an evolution already begun in William Godwin’s St. Leon (1799). Maturin’s Melmoth also reflects the anti-Judaism inherent in the Wandering Jew legend, especially supersessionism, which views Christianity as the true fulfillment of Jewish prophecy. The influence of supersessionism endures in discernible, but very different forms, in works influenced by Melmoth in French and in Yiddish. Drawing on Carol Davison’s analysis of Gothic antisemitism and Karen Grumberg’s important exploration of ‘Hebrew Gothic’, this essay discusses how Jewish writers, including Uri Zvi Greenberg (1896–1981), a poet of Yiddish and Hebrew from Lviv, Polish-born Yiddish novelist Sholem Asch (1880–1957), and contemporary U.S. novelist Dara Horn (b. 1977) have appropriated and adapted the legend of the eternal wanderer in ways that could be seen as reflecting a distinctly Jewish response to the gothic.
查尔斯-马图林（Charles Maturin）的《流浪者梅尔莫斯》（Melmoth the Wanderer，1820 年）借鉴了流浪犹太人的传说，在威廉-戈德温（William Godwin）的《圣莱昂》（St. Leon，1799 年）中已经开始的演变过程中，为这个人物注入了浮士德式的特征。马图林的《梅尔莫斯》还反映了 "流浪犹太人 "传说中固有的反犹太主义思想，尤其是至上主义，它将基督教视为犹太预言的真正实现。在受到《梅尔莫斯》影响的法文和意第绪文作品中，超验主义的影响以明显但截然不同的形式持续存在。本文借鉴 Carol Davison 对哥特式反犹太主义的分析和 Karen Grumberg 对 "希伯来哥特式 "的重要探索，讨论了犹太作家，包括来自利沃夫的意第绪语和希伯来语诗人 Uri Zvi Greenberg（1896-1981 年）、波兰出生的意第绪语小说家 Sholem Asch（1880-1957 年）和当代美国小说家达拉-霍恩（Dara Horn，1896-1981 年），是如何在他们的作品中体现超验主义的。美国当代小说家达拉-霍恩（Dara Horn，生于 1977 年）对永恒流浪者的传说进行了挪用和改编，可被视为反映了犹太人对哥特式文学的独特反应。
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Pub Date : 2024-07-01DOI: 10.3366/gothic.2024.0194
Muireann Maguire
Maturin's Melmoth the Wanderer had immediate, rich, and enduring influence upon Russian literature: Aleksandr Pushkin, after reading it in French translation in 1823, cited it in his own 1833 novel-in-verse Eugene Onegin, introducing the adjective ‘ mel’moticheskii’ (‘Melmoth-like’) to Russian. The titular demon of Mikhail Lermontov's dramatic poem The Demon (c. 1838) emulates Melmoth, while Maturin's novel was significant both for Nikolai Gogol and Fyodor Dostoevsky. Maturin's novel was just as widely read and (sometimes) travestied within Russia as the work of other Gothic-fantastic authors, like E. T. A. Hoffmann and Lord Byron. Yet no detailed English-language scholarly overview exists of Melmoth's Russian epigones, from Pushkin's Onegin to lesser-known, later imitations. This essay will clarify Maturin's impact on Russian literature by identifying the Russian authors most clearly influenced by Melmoth, from the dawn of Romanticism to the nostalgic fictions of Russian émigré and dissident authors in the early twentieth century.
马图林的《流浪者梅尔莫斯》对俄罗斯文学产生了直接、丰富和持久的影响：亚历山大-普希金（Aleksandr Pushkin）在 1823 年阅读了法文译本后，在 1833 年创作的小说《欧仁-奥涅金》（Eugene Onegin）中引用了这部作品，并在俄语中引入了 "梅尔莫斯式"（"mel'moticheskii"）这一形容词。米哈伊尔-莱蒙托夫（Mikhail Lermontov）的戏剧诗《恶魔》（约 1838 年）中的恶魔模仿了梅尔莫斯，而马图林的小说对尼古拉-果戈理和费奥多尔-陀思妥耶夫斯基都意义重大。在俄罗斯，马图林的小说与 E. T. A. 霍夫曼和拜伦勋爵等其他哥特式幻想小说作家的作品一样被广泛阅读和（有时）篡改。然而，从普希金的《奥涅金》到后来鲜为人知的模仿作品，都没有关于梅尔莫斯的俄罗斯同名小说的详细英文学术综述。本文将阐明马图林对俄罗斯文学的影响，找出从浪漫主义萌芽到二十世纪初俄罗斯移民作家和持不同政见者的怀旧小说中最明显受到梅尔莫斯影响的俄罗斯作家。
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Pub Date : 2024-07-01DOI: 10.3366/gothic.2024.0195
Jim Kelly
Circumlocution has been an important stylistic feature of the Gothic novel since its inception in the eighteenth century. Might this rhetorical feature be thought of in national or even geopolitical terms? Horace Walpole and Ann Radcliffe in the eighteenth century had linked circumlocution to a Shakespearean blending of comedy and tragedy that marked a distinctively British artistic sensibility against the constraints of French neo-classicism. However, Maturin’s use of the trope in Melmoth the Wanderer (1820) brought in new national and transnational inflections linked to the central character’s own ability to circle around the world and the presence of colonised others within the text. This article asks whether circumlocution after Maturin’s novel becomes an end in itself, a walking around the borders of speech and meaning that would appeal to later writers such as Edgar Allan Poe and Charles Baudelaire.
自十八世纪哥特式小说诞生以来，"绕行 "一直是其重要的文体特征。是否可以从国家甚至地缘政治的角度来思考这一修辞特点？十八世纪的霍勒斯-沃波尔（Horace Walpole）和安-拉德克利夫（Ann Radcliffe）曾将绕口令与莎士比亚式的喜剧和悲剧相结合，这标志着一种独特的英国艺术感觉，对抗法国新古典主义的束缚。然而，马图林在《漫游者梅尔摩斯》（Melmoth the Wanderer，1820 年）中对这一特例的使用带来了新的民族和跨国色彩，这与中心人物自身环游世界的能力以及文本中其他殖民者的存在有关。本文探讨了马图林小说中的绕口令本身是否成为了一种目的，一种在语言和意义的边界上行走的方式，这种方式是否会吸引埃德加-爱伦-坡（Edgar Allan Poe）和查尔斯-波德莱尔（Charles Baudelaire）等后来的作家。
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Pub Date : 2024-07-01DOI: 10.3366/gothic.2024.0192
Christina Morin
This article offers a transnational mapping of Melmoth the Wanderer (1820) that links fictional narrative both to the contexts of its production and dissemination in a global literary marketplace and to its network of influence, and more particularly, its reputation and afterlife within what Pascale Casanova has influentially called ‘the world republic of letters’. It first considers Melmoth’s internal geography and the novel’s use of space in relation to Maturin’s quest for ‘literary capital’. 1 It then expands upon, in Casanova’s terms, Melmoth’s ‘ littérisation’, namely, the process by which, in spite of its often-unfavourable contemporary reception, Melmoth was transformed from a state of ‘literary inexistence to existence’ via translation and adaptation. 2 Finally, it explores Northern Irish Big Telly Theatre Company’s 2012 dramatic adaptation as evidence of Melmoth’s littérisation.
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Pub Date : 2024-07-01DOI: 10.3366/gothic.2024.0191
Sonja Lawrenson, Matt Foley
In this introduction to the special issue, the editors read Charles Maturin's Melmoth the Wanderer (1820) and its circuitous afterlives through the lens of recent, revised critical understandings of globalgothic. Driven by its striking depiction of evil, its eccentric narrative structure, and its atmospheric intensity, Melmoth the Wanderer's cultural impact reverberated across nineteenth- and twentieth-century literatures and visual media, an influence which continues to evolve to this day. Significantly, for a text preoccupied with the problematics of translation, transcription, and transliteration, Melmoth's network of global influence is fraught with anomalies and complications. From its first appearance in nineteenth-century Russia in French translation to its rediscovery in twentieth-century Latin America, the global afterlives of Melmoth expose the vagaries and idiosyncrasies of transnational textuality, both in Maturin's era and our own. The introduction ends with an overview of the essays collected in this volume – the first scholarly study dedicated to tracing the many afterlives of Maturin's Melmoth.
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Pub Date : 2024-07-01DOI: 10.3366/gothic.2024.0193
Colin Azariah-Kribbs
In one of his published sermons, Charles Robert Maturin writes: ‘Life is full of death; the steps of the living cannot press the earth without disturbing the ashes of the dead – we walk upon our ancestors – the globe itself is one vast churchyard.’ Travelers in Melmoth the Wanderer (1820) are drawn to ruins, to historical texts, and to spectacles of death, all in an imperfect attempt to comprehend, recall, and communicate the mystery of suffering and mortality on a global, transnational scale. Drawing from Paul Westover’s seminal study of ‘necromanticism’ in which he discusses Romantic-era practices of memorializing and communing with the dead via historical writing and travel, I will read Mary Shelley’s plague novel The Last Man (1826) as a text that borrows from Maturin’s theory of the tenuous communicability of historical memory. I argue that Shelley echoes Maturin’s interest in a global necromanticism in which the living seek to remember and commemorate the dead through language, extending this practice of commemorative remembrance on a transnational scale. In so doing, Shelley also incorporates Maturin’s darker critique of these global commemorations as at once compulsive yet insufficient.
查尔斯-罗伯特-马图林（Charles Robert Maturin）在他发表的一篇布道文章中写道："生命充满死亡；活人的脚步踩在大地上，不能不惊动死者的骨灰--我们走在祖先的脚下--地球本身就是一个巨大的教堂墓地。漫游者梅尔莫斯》（Melmoth the Wanderer，1820 年）中的旅行者们被废墟、历史文献和死亡景象所吸引，他们试图在全球和跨国范围内理解、回忆和传达苦难与死亡的奥秘，但这一切都是不完美的。保罗-韦斯特弗（Paul Westover）对 "亡灵巫术 "进行了开创性的研究，讨论了浪漫主义时代通过历史写作和旅行纪念亡灵并与之交流的做法，借鉴这一研究，我将对玛丽-雪莱的瘟疫小说《最后的人》（1826 年）进行解读，将其作为借鉴马图林关于历史记忆的微弱交流性理论的文本。我认为，雪莱呼应了马图林对全球亡灵巫术的兴趣，在这种亡灵巫术中，活着的人试图通过语言来缅怀和纪念死者，并将这种纪念性的缅怀实践扩展到跨国范围。在此过程中，雪莱还吸收了马图林对这些全球性纪念活动的阴暗批判，认为这些纪念活动既具有强迫性，又不够充分。
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Pub Date : 2024-07-01DOI: 10.3366/gothic.2024.0197
Madeline Potter
This article explores the legacies of Melmoth, the title character of Charles Maturin's Melmoth the Wanderer (1820), in the context of the Irish Gothic tradition. I argue that Melmoth's corporeal monstrosity is symbolically reified in subsequent texts, and that consequently Irish Gothic fiction is both possessing of and possessed by Melmoth. Exploring this in-between space where Melmoth is re-fashioned and re-imagined, I ask what this means for the Irish Gothic tradition and the processes of reflection and self-reflection these texts enact. I therefore trace Melmoth's influence by surveying the works both of Anglo-Irish writers and of Irish Gothic writers outside this particular tradition. In particular, my argument examines tropes of doubling and mirroring in such texts so as to highlight Melmoth's presence as a symbolic and semiotic revenant.
本文探讨了查尔斯-马图林（Charles Maturin）的《流浪者梅尔摩斯》（Melmoth the Wanderer，1820 年）中的主人公梅尔摩斯在爱尔兰哥特式传统中的遗产。我认为，梅尔莫斯的肉体畸形在随后的文本中被象征性地重新整合，因此爱尔兰哥特小说既拥有梅尔莫斯，也被梅尔莫斯占有。在探索梅尔摩斯被重新塑造和重新想象的这一中间空间时，我想知道这对爱尔兰哥特式传统以及这些文本的反思和自我反思过程意味着什么。因此，我通过研究盎格鲁-爱尔兰作家和这一特定传统之外的爱尔兰哥特式作家的作品，追溯梅尔莫斯的影响。我的论点特别考察了这些文本中的双重性和镜像性，以突出梅尔摩斯作为象征性和符号性复仇者的存在。
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Pub Date : 2024-03-01DOI: 10.3366/gothic.2024.0182
Elizabeth Ezra
Around the turn of the twentieth century, the rise of cinema as an art form and as a medium of communication offered new ways of transmitting old myths. The gothic figure of the witch offered a frisson of transgression that was ultimately contained on the big screen, especially in works considered to be unthreatening because of their playful nature. The power of transformation ascribed to witches was mirrored in the power of film itself, as demonstrated by cinema's origin story, the ‘lucky’ accident that took place as Méliès filmed on the Place de l’Opéra, in which men appeared to become women and a trolley turned into a hearse. This essay examines the gendered (and often transgendered) struggle for dominance in films depicting witches and magical transformation in the context of the Freudian uncanny in a number of early films, including several silent-era precursors to MGM's Wizard of Oz (Fleming 1939).
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Pub Date : 2024-03-01DOI: 10.3366/gothic.2024.0185
Ellesse Patterson
This article analyses the cultural implications of the representation of Jack the Ripper in John Francis Brewer’s novel The Curse upon Mitre Square: A.D. 1530–1888 (1888). By examining how Brewer’s Ripper is positioned as a curse on London itself, this article maps the impact of the killer’s crimes on subsequent depictions of gothic London and its terrors. It further explores how the religious and national tensions surrounding the killer influenced Brewer’s depiction of Jack the Ripper as a British Catholic, contributing to a departure from both earlier portrayals of gothic villains as largely foreign and contemporary speculation that the actual Ripper was Jewish.
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