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Imperial Gothic for Global Britain: BBC's Taboo (2017–present) 全球英国的帝国哥特式:BBC的禁忌(2017年至今)
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-30 DOI: 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.
本文讨论了英国广播公司的电视剧《禁忌》(2017年至今)作为帝国哥特式的当代例子,并将该剧置于英国文化中当前“帝国怀旧”趋势的背景下。它仔细阅读了该系列对哥特式特征的使用,如对病态心理的探索,鬼魂作为过去创伤隐喻的功能,对哥特式效果的使用,以及对身体恐怖的唤起。通过对照这一一般传统阅读这一当代叙事,本文强调了哥特人反思帝国话语的历史转变和当代表现的能力。讨论认为,该系列试图通过将《帝国》描绘成怪物和恐怖的代理人来批判《帝国》,但最终再现了殖民地另类的刻板印象,而这些刻板印象是帝国主义意识形态的基础。从这个意义上说,《禁忌》是一部与早期帝国哥特式文本一样矛盾的文本。
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引用次数: 1
‘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 “她摇了摇她浓密的头发,到处都是香水”:“那个可怕的女巫”的诱人香味:H.莱德·哈格德的蛇蝎美人阿伊莎
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-05 DOI: 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 ...
本文探讨了香水、气味和花饰作为蛇蝎美人原型的一个方面,特别是在维多利亚晚期哥特式及其来世的背景下。作为扩展…
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引用次数: 1
Folk Horror: Hours Dreadful and Things Strange. By Adam Scovell 民间恐怖:可怕的时刻和奇怪的事情。Adam Scovell
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-05 DOI: 10.3366/gothic.2020.0066
J. B. Tuttle
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引用次数: 0
Haunting or Hallucination? Charlotte Perkins Gilman's ‘The Yellow Wallpaper’ and Contemporary Theories of Decorative Art and Psychiatry 闹鬼还是幻觉?Charlotte Perkins Gilman的“黄色壁纸”与当代装饰艺术和精神病学理论
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-05 DOI: 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...
尽管Charlotte Perkins Gilman的故事《黄色壁纸》(1892)受到了很多批评的关注,但对壁纸的视觉分析却只有几次尝试。第。。。
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引用次数: 0
‘This horrible patrimony’: Masculinity, War and the Upper Classes in Jessie Douglas Kerruish's The Undying Monster “这可怕的遗产”:杰西·道格拉斯·克鲁什的《不死的怪物》中的男子气概、战争和上层阶级
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-05 DOI: 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。。。
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引用次数: 0
Sleeping with the Lights on: The Unsettling Story of Horror. By Darryl Jones 《开灯睡觉:恐怖故事》。Darryl Jones
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-01 DOI: 10.3366/gothic.2020.0068
Rebecca Wynne-Walsh
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引用次数: 6
Gothic Modernisms: Modernity and the Postcolonial Gothic in Tayeb Salih's Season of Migration to the North 哥特式现代主义:塔耶布·萨利赫《北移季节》中的现代性与后殖民哥特式
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-01 DOI: 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.
本文讨论了现代主义与哥特式的交叉点,质疑了现代主义的传统分期,拓展了现代主义和哥特式研究的范围。我认为塔耶布·萨利赫的《北移季节》是通过哥特式现代主义模式对苏丹后殖民现代性的回应。现代哥特式是现代性基本矛盾的症状,因为“倒退”的过去继续困扰着“进步”的现在。我将我对现代主义、现代性和哥特式的讨论扩展到围绕后殖民哥特式的辩论中,考虑到神秘和哥特式的双重性是后殖民体验的典范的各种方式。塔耶布·萨利赫的小说背离了现代性和现代主义的霸权概念,用哥特式来批判西方关于历史线性、进步和现代化的元叙事。
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引用次数: 0
The Vampire: A New History. By Nick Groom 吸血鬼:新历史。作者:Nick Groom
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-01 DOI: 10.3366/gothic.2020.0070
N. Cleaver
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引用次数: 0
A Note on the Publication History of John Polidori's The Vampyre 约翰·波利多里《吸血鬼》出版史札记
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-01 DOI: 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.
人们普遍认为《吸血鬼》的出版违背了约翰·波利多利的意愿。这篇文章提供的证据表明,事实上,他在他的故事的出版中扮演了一个积极的角色,也许是对弗兰肯斯坦的回应。特别是,通过使用文本批评的工具,它证明了《新月刊》杂志和卷版中《吸血鬼》的“日内瓦来信摘录”是如何在没有接触到波利多利日记的情况下写成的。此外,它还假设《吸血鬼》的创作时间可以推迟到1818年,而传统上《吸血鬼》是在1816年夏天在日内瓦写成的,这为在波利多利、拜伦和雪莱之间的关系背景下阅读这个故事提供了新的可能性。
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引用次数: 0
‘The Creature We All Are’: Deleuze and Guattari's Geophilosophy in Mark Z. Danielewski's House of Leaves “我们都是生物”:马克·Z·达涅夫斯基的《树叶屋》中的德勒兹和瓜塔里的地球哲学
IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-01 DOI: 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.
马克·Z·达涅夫斯基2000年的处女作《树叶屋》迅速成为哥特式的经典之作,受到一些人的厌恶,也受到另一些人同样热情的赞扬。本文探讨了当代生态批评似乎正在采取的新方法,包括Gilles Deleuze和Félix Guattari的地球哲学理论,以揭示小说中“可怕的植物”的存在。它认为,德勒兹和瓜塔里的《一千高原》中描绘的根茎和树木的植物图像揭示了这座有名无实的房子因其与生长中的有机生物的相似性而变得可怕的方式。事实上,正是它令人恐惧的无法控制和无法理解的生长感淹没了角色的身心,最终侵犯了阅读体验,因为我们被迫承认房子,进而承认植物与人类存在的完全交替。
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引用次数: 0
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Gothic Studies
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