Pub Date : 2021-07-01DOI: 10.3366/gothic.2021.0094
Megan Devirgilis
The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.
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Pub Date : 2021-07-01DOI: 10.3366/gothic.2021.0090
Kirstin A. Mills
This article examines the processes of fragmentation and haunting surrounding the explosion of competing translations, in 1796, of Gottfried August Bürger's German ballad ‘Lenore’. While the fragment has become known as a core narrative device of the Gothic, less attention has been paid to the ways that the fragment and fragmentation operate as dynamic, living phenomena within the Gothic's central processes of memory, inspiration, creation, dissemination and evolution. Taking ‘Lenore’ as a case study, this essay aims to redress this critical gap by illuminating the ways that fragmentation haunts the mind, the text, and the history of the Gothic as a process as much as a product. It demonstrates that fragmentation operates along lines of cannibalism, resurrection and haunting to establish a pattern of influence that paves the way for modern forms of gothic intertextuality and adaptation. Importantly, it thereby locates fragmentation as a process at the heart of the Gothic mode.
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Pub Date : 2021-07-01DOI: 10.3366/gothic.2021.0099
Sandra Aline Wagner
{"title":"Phases of the Moon: A Cultural History of the Werewolf Film. By Craig Ian Mann","authors":"Sandra Aline Wagner","doi":"10.3366/gothic.2021.0099","DOIUrl":"https://doi.org/10.3366/gothic.2021.0099","url":null,"abstract":"","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46157655","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 : 2021-03-10DOI: 10.3366/GOTHIC.2021.0075
James A. Green
The attractiveness of the ‘moving image’ to the gothic imagination has begun to receive scholarly attention from the perspective of videogames, and it has been argued that the digital medium renova...
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Pub Date : 2021-03-10DOI: 10.3366/GOTHIC.2021.0085
Nicole C. Dittmer
{"title":"Nineteenth Century Popular Fiction, Medicine and Anatomy: The Victorian Penny Blood and the 1832 Anatomy Act. By Anna Gasperini","authors":"Nicole C. Dittmer","doi":"10.3366/GOTHIC.2021.0085","DOIUrl":"https://doi.org/10.3366/GOTHIC.2021.0085","url":null,"abstract":"","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43033988","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 : 2021-03-01DOI: 10.3366/GOTHIC.2021.0076
Ailise Bulfin
This article investigates the metaphorical representation of child sexual abuse (CSA) in contemporary children's and young adult gothic works, focusing on the popular Series of Unfortunate Events and Miss Peregrine's Peculiar Children series. It argues that because of the upsetting nature of the issue and the numerous myths surrounding it, cultural production often uses the gothic figure of the monster who preys on children to address CSA indirectly, and identifies this strategy in the above series. It reveals a distinctly sexual charge to the monsters' victimisation of the children in both sets of narratives and explores their tendency to perpetuate CSA myths such as that of the perpetrator as a monstrous stranger. In conclusion, it considers how these narratives also challenge CSA myths and offer models of resilient child survivors, and it draws on cognitive cultural theory to theorise potential reader/viewer responses. Through its metaphorical imbrication of real-world brutality and dark fantasy, the Gothic is ultimately theorised as potentially affording more scope than realist treatments for touching on issues of transgression for wider and younger audiences, and sometimes in affirmative ways that move beyond merely recirculating myths and panic.
{"title":"‘I'll touch whatever I want’: Representing Child Sexual Abuse in Contemporary Children's and Young Adult Gothic","authors":"Ailise Bulfin","doi":"10.3366/GOTHIC.2021.0076","DOIUrl":"https://doi.org/10.3366/GOTHIC.2021.0076","url":null,"abstract":"This article investigates the metaphorical representation of child sexual abuse (CSA) in contemporary children's and young adult gothic works, focusing on the popular Series of Unfortunate Events and Miss Peregrine's Peculiar Children series. It argues that because of the upsetting nature of the issue and the numerous myths surrounding it, cultural production often uses the gothic figure of the monster who preys on children to address CSA indirectly, and identifies this strategy in the above series. It reveals a distinctly sexual charge to the monsters' victimisation of the children in both sets of narratives and explores their tendency to perpetuate CSA myths such as that of the perpetrator as a monstrous stranger. In conclusion, it considers how these narratives also challenge CSA myths and offer models of resilient child survivors, and it draws on cognitive cultural theory to theorise potential reader/viewer responses. Through its metaphorical imbrication of real-world brutality and dark fantasy, the Gothic is ultimately theorised as potentially affording more scope than realist treatments for touching on issues of transgression for wider and younger audiences, and sometimes in affirmative ways that move beyond merely recirculating myths and panic.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48478206","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 : 2021-03-01DOI: 10.3366/GOTHIC.2021.0078
Whitney S. May
Of the many haunting figures that Gothic fiction invokes, none so perfectly encapsulates the mode itself, in all its fantastic incursions of opposing forces and clashing sensibilities, as the doppelgänger. Indeed, this figure in Gothic literature helps to push the bounds of subjective tension so central to the genre. This article examines Bram Stoker's Dracula (1897) as an entry into the canon of doppelgänger fiction by complicating traditional readings of the central relationship between Count Dracula and Jonathan Harker. By revisiting the novel within the framework of a doppelgänger narrative, this article suggests that part of the real terror for Stoker's fin-de-siècle audience lies in the novel's timing. Located in the gap between the retreating Romantic and advancing high modern epochs, the novel dramatizes the apprehensions of a culture experiencing enormous technological and social upheaval. Specifically, it offers in its doubled pair a means to navigate those anxieties.
{"title":"‘Powers of Their Own Which Mere “Modernity” Cannot Kill’: The Doppelgänger and Temporal Modernist Terror in Dracula","authors":"Whitney S. May","doi":"10.3366/GOTHIC.2021.0078","DOIUrl":"https://doi.org/10.3366/GOTHIC.2021.0078","url":null,"abstract":"Of the many haunting figures that Gothic fiction invokes, none so perfectly encapsulates the mode itself, in all its fantastic incursions of opposing forces and clashing sensibilities, as the doppelgänger. Indeed, this figure in Gothic literature helps to push the bounds of subjective tension so central to the genre. This article examines Bram Stoker's Dracula (1897) as an entry into the canon of doppelgänger fiction by complicating traditional readings of the central relationship between Count Dracula and Jonathan Harker. By revisiting the novel within the framework of a doppelgänger narrative, this article suggests that part of the real terror for Stoker's fin-de-siècle audience lies in the novel's timing. Located in the gap between the retreating Romantic and advancing high modern epochs, the novel dramatizes the apprehensions of a culture experiencing enormous technological and social upheaval. Specifically, it offers in its doubled pair a means to navigate those anxieties.","PeriodicalId":42443,"journal":{"name":"Gothic Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46164727","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 : 2021-03-01DOI: 10.3366/GOTHIC.2021.0079
Christopher Yiannitsaros
This article examines the ways in which Agatha Christie's fictional villages may be interpreted as fundamentally gothic spaces. It makes the case that within the novels The Murder at the Vicarage (1930) and The Moving Finger (1943), outdoor spaces do not offer the potential release from captivity that is set out in more traditional gothic paradigms. Instead, exterior landscapes surrounding and connecting homes function as a continuation of domestic interiority, thus acting as able accomplices in a gothic transformation of ‘home’ into ‘prison’. By examining the shifting meanings of panoptic surveillance present within these villages, and the outward extension of private family romances into more public forms of cruelty and humiliation, this article suggests that far from creating idyllic exemplars of English rurality, Christie's fictional villages work to unmask the dark, ‘unhomely’ core that lies buried at the very heart of the English ‘Home Counties’.
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