Pub Date : 2020-11-30DOI: 10.3366/gothic.2020.0064
Aris Mousoutzanis
This article discusses the BBC drama Taboo (2017–present) as a contemporary example of imperial Gothic and places the series in the context of a current trend of ‘imperial nostalgia’ in British culture. It provides a close reading of the series with regard to its use of gothic traits like the exploration of morbid psychology, the function of the ghost as a metaphor for past trauma, the use of locale for gothic effect, and the evocation of body horror. By reading this contemporary narrative against this generic tradition, the paper highlights the ability of the Gothic to reflect on historical transformations and contemporary manifestations of discourses of Empire. The series, the discussion argues, seeks to critique Empire by portraying it as the agent of monstrosity and horror but eventually reproduces stereotypes of colonial otherness that were fundamental to imperialist ideologies. In this sense, Taboo is a text just as ambivalent as earlier imperial Gothic texts.
{"title":"Imperial Gothic for Global Britain: BBC's Taboo (2017–present)","authors":"Aris Mousoutzanis","doi":"10.3366/gothic.2020.0064","DOIUrl":"https://doi.org/10.3366/gothic.2020.0064","url":null,"abstract":"This article discusses the BBC drama Taboo (2017–present) as a contemporary example of imperial Gothic and places the series in the context of a current trend of ‘imperial nostalgia’ in British culture. It provides a close reading of the series with regard to its use of gothic traits like the exploration of morbid psychology, the function of the ghost as a metaphor for past trauma, the use of locale for gothic effect, and the evocation of body horror. By reading this contemporary narrative against this generic tradition, the paper highlights the ability of the Gothic to reflect on historical transformations and contemporary manifestations of discourses of Empire. The series, the discussion argues, seeks to critique Empire by portraying it as the agent of monstrosity and horror but eventually reproduces stereotypes of colonial otherness that were fundamental to imperialist ideologies. In this sense, Taboo is a text just as ambivalent as earlier imperial Gothic texts.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"313-329"},"PeriodicalIF":0.1,"publicationDate":"2020-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46290758","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 : 2020-11-05DOI: 10.3366/gothic.2020.0060
J. Stewart
This paper explores perfume, scent, and floriography as an aspect of the archetype of the femme fatale, specifically in the context of the late-Victorian Gothic and its afterlives. As an expansion ...
{"title":"‘She shook her heavy tresses, and their perfume filled the place’: The Seductive Fragrance of ‘that awful sorceress’: H. Rider Haggard's femme fatale, Ayesha","authors":"J. Stewart","doi":"10.3366/gothic.2020.0060","DOIUrl":"https://doi.org/10.3366/gothic.2020.0060","url":null,"abstract":"This paper explores perfume, scent, and floriography as an aspect of the archetype of the femme fatale, specifically in the context of the late-Victorian Gothic and its afterlives. As an expansion ...","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"246-265"},"PeriodicalIF":0.1,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42605916","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 : 2020-11-05DOI: 10.3366/gothic.2020.0066
J. B. Tuttle
{"title":"Folk Horror: Hours Dreadful and Things Strange. By Adam Scovell","authors":"J. B. Tuttle","doi":"10.3366/gothic.2020.0066","DOIUrl":"https://doi.org/10.3366/gothic.2020.0066","url":null,"abstract":"","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"344-346"},"PeriodicalIF":0.1,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45020770","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 : 2020-11-05DOI: 10.3366/gothic.2020.0061
Tomáš Kolich
Even though Charlotte Perkins Gilman's story ‘The Yellow Wallpaper’ (1892) has received a lot of critical attention, there have been only a few attempts at the visual analysis of the wallpaper. Thi...
{"title":"Haunting or Hallucination? Charlotte Perkins Gilman's ‘The Yellow Wallpaper’ and Contemporary Theories of Decorative Art and Psychiatry","authors":"Tomáš Kolich","doi":"10.3366/gothic.2020.0061","DOIUrl":"https://doi.org/10.3366/gothic.2020.0061","url":null,"abstract":"Even though Charlotte Perkins Gilman's story ‘The Yellow Wallpaper’ (1892) has received a lot of critical attention, there have been only a few attempts at the visual analysis of the wallpaper. Thi...","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"266-284"},"PeriodicalIF":0.1,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49409952","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 : 2020-11-05DOI: 10.3366/gothic.2020.0063
E. Mercer
The recent reissue of Jessie Douglas Kerruish's critically neglected Gothic novel The Undying Monster: A Tale of the Fifth Dimension (1922) describes it as ‘dated’ but its more conservative element...
杰西·道格拉斯·克鲁伊什（Jessie Douglas Kerruish）的哥特式小说《不死的怪物：第五维度的故事》（The Undying Monster:A Tale of The Fifth Dimension，1922）最近重新发行，该小说被严重忽视，称其“过时”，但其更保守的元素。。。
{"title":"‘This horrible patrimony’: Masculinity, War and the Upper Classes in Jessie Douglas Kerruish's The Undying Monster","authors":"E. Mercer","doi":"10.3366/gothic.2020.0063","DOIUrl":"https://doi.org/10.3366/gothic.2020.0063","url":null,"abstract":"The recent reissue of Jessie Douglas Kerruish's critically neglected Gothic novel The Undying Monster: A Tale of the Fifth Dimension (1922) describes it as ‘dated’ but its more conservative element...","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"300-312"},"PeriodicalIF":0.1,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41818895","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 : 2020-11-01DOI: 10.3366/gothic.2020.0068
Rebecca Wynne-Walsh
{"title":"Sleeping with the Lights on: The Unsettling Story of Horror. By Darryl Jones","authors":"Rebecca Wynne-Walsh","doi":"10.3366/gothic.2020.0068","DOIUrl":"https://doi.org/10.3366/gothic.2020.0068","url":null,"abstract":"","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"349-352"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49274286","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 : 2020-11-01DOI: 10.3366/gothic.2020.0062
S. Walker
This article discusses the intersection between modernism and the Gothic, interrogating the conventional periodisation of modernism and extending the scope of both modernist and gothic studies. I propose that Tayeb Salih's Season of Migration to the North is a response to Sudanese postcolonial modernity through the mode of Gothic modernism. The modern Gothic is symptomatic of the contradictions fundamental to modernity as the ‘regressive’ past continues to haunt the ‘progressive’ present. I extend my discussion of modernism, modernity and the Gothic to debates around the postcolonial Gothic, considering the various ways in which the uncanny and gothic doubling are paradigmatic of the postcolonial experience. Tayeb Salih's novel is a departure from hegemonic conceptualisations of modernity and modernism, using the Gothic to critique Western metanarratives of historical linearity, progress and modernisation.
{"title":"Gothic Modernisms: Modernity and the Postcolonial Gothic in Tayeb Salih's Season of Migration to the North","authors":"S. Walker","doi":"10.3366/gothic.2020.0062","DOIUrl":"https://doi.org/10.3366/gothic.2020.0062","url":null,"abstract":"This article discusses the intersection between modernism and the Gothic, interrogating the conventional periodisation of modernism and extending the scope of both modernist and gothic studies. I propose that Tayeb Salih's Season of Migration to the North is a response to Sudanese postcolonial modernity through the mode of Gothic modernism. The modern Gothic is symptomatic of the contradictions fundamental to modernity as the ‘regressive’ past continues to haunt the ‘progressive’ present. I extend my discussion of modernism, modernity and the Gothic to debates around the postcolonial Gothic, considering the various ways in which the uncanny and gothic doubling are paradigmatic of the postcolonial experience. Tayeb Salih's novel is a departure from hegemonic conceptualisations of modernity and modernism, using the Gothic to critique Western metanarratives of historical linearity, progress and modernisation.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"285-299"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48133180","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 : 2020-11-01DOI: 10.3366/gothic.2020.0070
N. Cleaver
{"title":"The Vampire: A New History. By Nick Groom","authors":"N. Cleaver","doi":"10.3366/gothic.2020.0070","DOIUrl":"https://doi.org/10.3366/gothic.2020.0070","url":null,"abstract":"","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"355-357"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42309610","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 : 2020-11-01DOI: 10.3366/gothic.2020.0065
Fabio Camilletti
It is generally assumed that The Vampyre was published against John Polidori's will. This article brings evidence to support that he played, in fact, an active role in the publication of his tale, perhaps as a response to Frankenstein. In particular, by making use of the tools of textual criticism, it demonstrates how the ‘Extract of a Letter from Geneva’ accompanying The Vampyre in The New Monthly Magazine and in volume editions could not be written without having access to Polidori's Diary. Furthermore, it hypothesizes that the composition of The Vampyre, traditionally located in Geneva in the course of summer 1816, can be postdated to 1818, opening up new possibilities for reading the tale in the context of the relationship between Polidori, Byron, and the Shelleys.
{"title":"A Note on the Publication History of John Polidori's The Vampyre","authors":"Fabio Camilletti","doi":"10.3366/gothic.2020.0065","DOIUrl":"https://doi.org/10.3366/gothic.2020.0065","url":null,"abstract":"It is generally assumed that The Vampyre was published against John Polidori's will. This article brings evidence to support that he played, in fact, an active role in the publication of his tale, perhaps as a response to Frankenstein. In particular, by making use of the tools of textual criticism, it demonstrates how the ‘Extract of a Letter from Geneva’ accompanying The Vampyre in The New Monthly Magazine and in volume editions could not be written without having access to Polidori's Diary. Furthermore, it hypothesizes that the composition of The Vampyre, traditionally located in Geneva in the course of summer 1816, can be postdated to 1818, opening up new possibilities for reading the tale in the context of the relationship between Polidori, Byron, and the Shelleys.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"330-343"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43126804","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 : 2020-11-01DOI: 10.3366/gothic.2020.0059
Connor Gould
Mark Z. Danielewski's 2000 debut novel House of Leaves has rapidly become a gothic cult classic, detested by some and acclaimed by others with identical passion. This article explores the new approaches that contemporary ecocriticism appears to be taking, embracing the geophilosophical theories of Gilles Deleuze and Félix Guattari to uncover the presence of the ‘monstrous vegetal’ throughout the novel. It argues that the vegetal images of the rhizome and the tree, illustrated within Deleuze and Guattari's A Thousand Plateaus reveal the way in which the titular house becomes horrifying through its similarities to a growing, organic creature. Indeed, it is its horrifying sense of uncontrollable and incomprehensible growth that overwhelms the characters’ bodies and minds before eventually infringing upon the reading experience as we are forced to acknowledge the house's, and by extension the vegetal's, complete alterity to human existence.
{"title":"‘The Creature We All Are’: Deleuze and Guattari's Geophilosophy in Mark Z. Danielewski's House of Leaves","authors":"Connor Gould","doi":"10.3366/gothic.2020.0059","DOIUrl":"https://doi.org/10.3366/gothic.2020.0059","url":null,"abstract":"Mark Z. Danielewski's 2000 debut novel House of Leaves has rapidly become a gothic cult classic, detested by some and acclaimed by others with identical passion. This article explores the new approaches that contemporary ecocriticism appears to be taking, embracing the geophilosophical theories of Gilles Deleuze and Félix Guattari to uncover the presence of the ‘monstrous vegetal’ throughout the novel. It argues that the vegetal images of the rhizome and the tree, illustrated within Deleuze and Guattari's A Thousand Plateaus reveal the way in which the titular house becomes horrifying through its similarities to a growing, organic creature. Indeed, it is its horrifying sense of uncontrollable and incomprehensible growth that overwhelms the characters’ bodies and minds before eventually infringing upon the reading experience as we are forced to acknowledge the house's, and by extension the vegetal's, complete alterity to human existence.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":"22 1","pages":"231-245"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42889047","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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