Pub Date : 2023-03-01DOI: 10.3366/gothic.2023.0155
M. Aguirre
This article rounds off an intensive study of formulaicity in Gothic fiction. After briefly recapping analysis on the compositional levels of formula, formulaic pattern and tableau in the novel The Necromancer (1794), the article concentrates on the next compositional level, the type-scene, understood as an aggregate of tableaux. It shows that the type-scene depicting ghostly apparitions systematically resorts to the same lexical fields and techniques of composition, and that these foreground language over content; the type-scene thus constructed exhibits a multiform structure, and strongly resembles ‘other’ type-scenes respectively depicting a tempest and the Wild Hunt. Detailed analysis leads to seven hypotheses regarding the structure of these type-scenes, the most general of which being that a metonymic principle appears to govern Gothic narrative composition. These hypotheses suggest themselves as stepping-stones towards the construction of a poetics of the Gothic.
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Pub Date : 2023-03-01DOI: 10.3366/gothic.2023.0153
N. Freeman
‘In the Nightmare Country’ offers a detailed analysis of John Metcalfe’s short story, ‘The Bad Lands’ (1920), arguing that it represents an amalgam of Gothic and modernist devices and preoccupations that has significant implications for the development of twentieth-century British Gothic writing. The article considers how Metcalfe's story was shaped by Joseph Conrad and D. H. Lawrence on one hand and Freudian psychoanalysis and wartime experiences on the other. It also examines the important role played by the anthologist, Dorothy L. Sayers, in the popularisation of emerging forms of psychological gothic during the 1930s.
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Pub Date : 2023-03-01DOI: 10.3366/gothic.2023.0151
Alice Capstick, Rowan Burridge
In Zofloya, or the Moor (1806), Charlotte Dacre subverts gothic traditions by representing her heroine, Victoria, as the first sublime gothic heroine: a female protagonist who embodies and uses the sublime to empower herself without sacrificing her female identity or sexuality. Dacre challenges the gendered roles of the satanic seduction narrative which, by the nineteenth-century, had become commonplace in the Gothic and had been influenced by the version of the Fall portrayed in John Milton's Paradise Lost (1667). Although Victoria becomes victim to Satan, Dacre radically reimagines the Fall. Victoria does not Fall as a result of being overwhelmed by masculine tyranny, but because she is exposed to a more powerful sublimity than her own. Through comparison of the female characters in the novel – who each represent the existing options for characterising women in the Gothic – Dacre's critique of gothic gender roles is apparent, as she presents sublimity as the only means of achieving independence.
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Pub Date : 2023-03-01DOI: 10.3366/gothic.2023.0152
Erika Kvistad
In the Dark, a 2007 webseries directed by Andrew Cull that purports to be the YouTube channel of a young woman documenting a haunting in her apartment, is arguably the first horror hoax webseries on YouTube. Two decades after the popular rise of two horror media traditions that make use of the storytelling power of hoaxes, the found footage horror film and creepypasta, this article returns to In the Dark as an early work that draws on both these modes and asks: what happens when a hoax gets old? If the credibility of a hoax is inherently time-limited, how might a work of hoax horror whose time has passed speak to us now? To explore the afterlife of In the Dark, I discuss this foundational but little-studied work in the context of earlier scholarship on genres and modes that make use of illusions of authenticity, like creepypasta, found footage film, and alternate reality games (ARGs). I discuss how In the Dark functioned as a hoax when it was originally published in 2007, examining its amateur aesthetics, its interactions with viewers, and its inclusion of apparently meaningless material to create a sense of authenticity and implicate the reader in the storytelling process. Reflecting on how the last fifteen years have changed the way this hoax appears to and works on viewers, I suggest that as the immediate credibility of a horror hoax diminishes, a different kind of horror effect takes over, allowing the hoax to function in new, unintended ways.
2007年由Andrew Cull执导的网络连续剧《黑暗中》(In the Dark)据称是一个YouTube频道，讲述了一个年轻女子记录她公寓里闹鬼的故事，可以说是YouTube上第一个恐怖恶作剧网络连续剧。在两种利用恶作剧的叙事能力的恐怖媒体传统——发现的恐怖电影和令人毛骨悚然的意大利面——流行起来20年后，本文回到《黑暗中》，作为一种利用这两种模式的早期作品，并提出了一个问题:当一个骗局过时了会发生什么?如果一个骗局的可信度本质上是有时间限制的，那么一个已经过时的恶作剧恐怖作品现在对我们有什么意义呢?为了探索《In the Dark》的来世，我将在早期关于使用真实性幻觉的类型和模式(如creepypasta, found footage film和alternate reality games, arg)的学术背景下讨论这一基础但却鲜有研究的作品。我讨论了《黑暗中》在2007年最初出版时是如何作为一个骗局发挥作用的，考察了它的业余美学，它与观众的互动，它包含了明显毫无意义的材料，以创造一种真实感，并在讲故事的过程中暗示读者。回顾过去15年，这种骗局呈现给观众的方式发生了怎样的变化，我认为，随着恐怖骗局的直接可信度下降，一种不同的恐怖效果取而代之，让骗局以一种新的、意想不到的方式发挥作用。
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Pub Date : 2023-03-01DOI: 10.3366/gothic.2023.0154
Rebecca Wynne-Walsh
The legacy of the Troubles is still patently visible in Ireland. This period has never been absent from contemporary national discourse and, in fact, exists in living memory for the majority of the Irish. Brexit and the passing of Nobel Peace Prize laureate John Hume in August 2020 have only reinvigorated discussions on the Troubles, the IRA, and the Northern Irish peace processes, in which Hume was a central figure. This article presents a critical approach to the Troubles within a Gothic framework. This mode has long articulated anxieties engendered by the irresolvability of contested histories, territories and memories. I argue that the films Hunger and ’71 use gothic narrative structures and motifs to negotiate the emotionally and ideologically loaded Northern Irish conflict. Formally, the Gothic comes to the fore in each film's preoccupation with the unspoken and the visually untrustworthy. Both films rely on fractured chronologies and flashbacks to re-present lingering Northern Irish personal and collective traumas. I position Hunger and ’71 as essential components of an ongoing process of trauma negotiation in regards to the deep-set cultural wounds of the Troubles.
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Pub Date : 2022-11-01DOI: 10.3366/gothic.2022.0140
Rebekah Cumpsty
Namwali Serpell’s The Old Drift (2019) yokes together human, technological and ecological shifts in a sinister speculative register. While it seemingly corresponds to the posthuman Gothic, this framing is insufficient to describe gothic presentations of the postcolony where people are treated as inhuman surplus. Posthumanist approaches risk reinscribing the dehumanizing discourses that sustain coloniality as a social and environmental organization. The novel presents a two-fold decolonial critique. First, it irreverently rehearses Eurocentric Zambian history and the gothic tropes that enlivened it, only to decentre this account for a decolonial aetiology voiced by a mosquito hive mind. Second, given that history is a story of how the ‘human’ came to be, the figures of biological excess unsettle the colonial category ‘human.’ These interwoven strands of decolonial critique unseat colonial evolutionary teleology in favour of a plural, multispecies aetiology, best read through a decolonial ecoGothic lens that exposes coloniality as both an ecological and social project.
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Pub Date : 2022-11-01DOI: 10.3366/gothic.2022.0141
Pramod K. Nayar
This essay theorises an AgoraGothic, a Gothic of the empty, open spaces captured in the photographic essay, ‘The Great Empty’ in the New York Times, at the height of the Covid-19 pandemic. The decolonised spaces of metropolises, as humans were locked in, are an iteration of the colonial condition of the terra nullius, but also of the res nullius, abandoned by its owner and ready for occupation by others. The agora is haunted, with two registers of decolonisation: of losing human domination over built and natural spaces, and the return of the repressed non-human Other. As humans cower inside, the wait is interminable, as the virus stalks the outside.
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Pub Date : 2022-11-01DOI: 10.3366/gothic.2022.0138
Rebecca Duncan
This introduction to the special issue – ‘Decolonising Gothic’ – provides an overview of major existing approaches to gothic in the international context – namely postcolonial- and globalgothic – and highlights developments in contemporary Gothic production that demand a critical shift beyond these frameworks. The article outlines decolonial thinking as one productive response to this situation, and reflects both on what it might mean to ‘decolonise’ Gothic Studies, and on Gothic fiction’s own decolonising possibilities. The article concludes by introducing the essays collected in the special issue, foregrounding how each takes up the questions of decoloniality and decolonising in relation to gothic imaginaries from different regions of the world.
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