Pub Date : 2023-07-01DOI: 10.3366/gothic.2023.0165
Teresa Fitzpatrick
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Pub Date : 2023-07-01DOI: 10.3366/gothic.2023.0164
W. Brewer
This essay argues that Mary Robinson’s subversion of gender in her Gothic novel Walsingham (1797) is more radical than critics have suggested. I offer a trans reading of Walsingham that focuses on the evolution of Sir Sidney Aubrey’s nonnormative gender identity and behavior. Along with emphasizing transformation and embodiment, trans theory disrupts essentializing categories such as male, female, heterosexual, gay, and lesbian. It thus provides a useful lens through which to examine Walsingham, in which Sidney and the title character transition from one identity to another. I examine the transgender Sidney’s conception of themself as a monster and the eponymous protagonist’s psychosexual development: throughout the novel, both characters see themselves as metamorphic, not-quite-human subjectivities driven by self-destructive passions. The novel’s conclusion presents a scenario in which gender transition occurs rapidly, a trans person finds acceptance, and the conflicted male protagonist immediately falls in love with them.
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Pub Date : 2023-07-01DOI: 10.3366/gothic.2023.0160
Arthur Aroha Kaminski da Silva
One case of Gothic adaptation of pre-Islamic folklore resides in the figure of the ghoul. This Mesopotamian mythical creature was reinvented by Antoine Galland in the European context around 1718, when he translate and rewrote the collection of Hindi-Persian-Arabic narratives known as the One Thousand and One Nights. This article analyses the influence of this European ghoul on the creation of Bocatorta, protagonist of an eponymous short story published by Monteiro Lobato – an important Brazilian writer – in his Urupês (1918). I examine the influence of Galland’s work on Lobato’s work, alongside that of Caliban from Shakespeare’s The Tempest (1611), one of Lobato’s main inspirations for the character of Bocatorta.
{"title":"Bocatorta, a Brazilian Ghoul: Adaptations and Influence of Anglo Arabic Folklore in Monteiro Lobato","authors":"Arthur Aroha Kaminski da Silva","doi":"10.3366/gothic.2023.0160","DOIUrl":"https://doi.org/10.3366/gothic.2023.0160","url":null,"abstract":"One case of Gothic adaptation of pre-Islamic folklore resides in the figure of the ghoul. This Mesopotamian mythical creature was reinvented by Antoine Galland in the European context around 1718, when he translate and rewrote the collection of Hindi-Persian-Arabic narratives known as the One Thousand and One Nights. This article analyses the influence of this European ghoul on the creation of Bocatorta, protagonist of an eponymous short story published by Monteiro Lobato – an important Brazilian writer – in his Urupês (1918). I examine the influence of Galland’s work on Lobato’s work, alongside that of Caliban from Shakespeare’s The Tempest (1611), one of Lobato’s main inspirations for the character of Bocatorta.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46041646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.3366/gothic.2023.0166
Aparajita Hazra
{"title":"South Asian Gothic. Edited by Katarzyna Ancuta and Deimantas Valančiūnas","authors":"Aparajita Hazra","doi":"10.3366/gothic.2023.0166","DOIUrl":"https://doi.org/10.3366/gothic.2023.0166","url":null,"abstract":"","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45857169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.3366/gothic.2023.0163
Justin Tate
Vincent Virga’s Gaywyck (1980) has enjoyed sustained critical and commercial interest due to the claim that it is the first Gothic novel to depict unambiguous same-sex romance. While enthusiasm for Gaywyck is warranted, there is an earlier ‘gay Gothic’ novel which should be recognized as the first. Peter Tuesday Hughes’s Gay Nights at Maldelangue (1969) is a literary fantasia of same-sex desire and classic gothic storytelling. Published shortly after the Stonewall Uprising, it is also among the first creative interactions with the gay liberation movement of the late 1960s. Although Hughes wrote at least thirty-two novels, was a critical success and top seller for his publisher, he is largely forgotten today – to the extent that we do not know whether he is alive or even if that is his real name.
{"title":"Peter Tuesday Hughes: Forgotten Pioneer of the Gay Gothic","authors":"Justin Tate","doi":"10.3366/gothic.2023.0163","DOIUrl":"https://doi.org/10.3366/gothic.2023.0163","url":null,"abstract":"Vincent Virga’s Gaywyck (1980) has enjoyed sustained critical and commercial interest due to the claim that it is the first Gothic novel to depict unambiguous same-sex romance. While enthusiasm for Gaywyck is warranted, there is an earlier ‘gay Gothic’ novel which should be recognized as the first. Peter Tuesday Hughes’s Gay Nights at Maldelangue (1969) is a literary fantasia of same-sex desire and classic gothic storytelling. Published shortly after the Stonewall Uprising, it is also among the first creative interactions with the gay liberation movement of the late 1960s. Although Hughes wrote at least thirty-two novels, was a critical success and top seller for his publisher, he is largely forgotten today – to the extent that we do not know whether he is alive or even if that is his real name.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44559018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.3366/gothic.2023.0150
Karen E Macfarlane
The Creepy Little Girl is a subset of the Gothic Child and as such, she works differently from the evil child or the monstrous child in contemporary Gothic. Unlike the contradictions inherent in representations of the evil child whose presence is disruption and destruction, or the monstrous child who is dangerous, the Creepy Little Girl serves as a function of the Gothic: she is that figure through which the narrative is unsettled and the Gothic intrudes. The Creepy Little Girl is defined by her hypergendered position in the narratives in which she appears: as both ‘little’ and very much as ‘girl’. The little girl's presence in contemporary gothic narratives destabilises the familiar, the domestic, and the cute and that is the basis for the gothic unease that she engenders.
{"title":"Creepy Little Girl","authors":"Karen E Macfarlane","doi":"10.3366/gothic.2023.0150","DOIUrl":"https://doi.org/10.3366/gothic.2023.0150","url":null,"abstract":"The Creepy Little Girl is a subset of the Gothic Child and as such, she works differently from the evil child or the monstrous child in contemporary Gothic. Unlike the contradictions inherent in representations of the evil child whose presence is disruption and destruction, or the monstrous child who is dangerous, the Creepy Little Girl serves as a function of the Gothic: she is that figure through which the narrative is unsettled and the Gothic intrudes. The Creepy Little Girl is defined by her hypergendered position in the narratives in which she appears: as both ‘little’ and very much as ‘girl’. The little girl's presence in contemporary gothic narratives destabilises the familiar, the domestic, and the cute and that is the basis for the gothic unease that she engenders.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43701083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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