Relevant bibliographies by topics / Gothic fiction (Literary genre), Australia

Academic literature on the topic 'Gothic fiction (Literary genre), Australia'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Gothic fiction (Literary genre), Australia"

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Gamer, Michael. "Genres for the Prosecution: Pornography and the Gothic." PMLA/Publications of the Modern Language Association of America 114, no. 5 (October 1999): 1043–54. http://dx.doi.org/10.2307/463463.

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Recent accounts of genre have asserted that all texts participate in multiple genres and that genre works as a kind of contract between writers and readers. In the legal history of eighteenth-century British prosecutions for obscene libel and the reception history of gothic fiction at the turn of the nineteenth century, however, the model of genre as contract breaks down. At the end of the eighteenth century, several texts we now call gothic faced threatened prosecution under existing obscene libel laws. The reception histories of the fiction of Matthew Lewis, Charlotte Dacre, and Charles Robert Maturin demonstrate that public denouncements and threatened prosecution forced gothic texts, even as they theoretically participated in at least one genre, to belong to a legal category (obscenity) for which their writers never intended them.
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Vuohelainen, Minna. "Traveller's Tales: Rudyard Kipling's Gothic Short Fiction." Gothic Studies 23, no. 2 (July 2021): 181–200. http://dx.doi.org/10.3366/gothic.2021.0093.

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Between 1884 and 1936, Rudyard Kipling wrote over 300 short stories, most of which were first published in colonial and cosmopolitan periodicals before being reissued in short-story collections. This corpus contains a number of critically neglected Gothic stories that fall into four groups: stories that belong to the ghost-story tradition; stories that represent the colonial encounter through gothic tropes of horror and the uncanny but do not necessarily include any supernatural elements; stories that develop an elegiac and elliptical Gothic Modernism; and stories that make use of the First World War and its aftermath as a gothic environment. This essay evaluates Kipling's contribution to the critically neglected genre of the Gothic short story, with a focus on the stories' persistent preoccupation with spatial tropes of travel, disorientation and displacement.
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Punter, David, and James Watt. "Contesting the Gothic: Fiction, Genre and Cultural Conflict, 1764-1832." Studies in Romanticism 40, no. 3 (2001): 459. http://dx.doi.org/10.2307/25601519.

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Bernardo Pereira, Ismael. "A CONVERGENCE OF GENRES: GOTHIC AND SCIENCE FICTION IN FRANKENSTEIN." REVISTA DE LETRAS - JUÇARA 2, no. 1 (July 31, 2018): 153–67. http://dx.doi.org/10.18817/rlj.v2i1.1531.

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This article aims to analyze the novel Frankenstein, by Mary W. Shelley, from a perspective of literary genres. The work is believed to manifest both traits of the Gothic genre––due to its structure and common themes to the period it was published––and of what would in future be called the Science fiction genre. Those elements are here observed, in the novel as well as in the context of its creation. In this sense, there is a convergence of genres taking place, albeit one of them is in its nascent form: Shelley's novel antecipate a scientific interest that would be specified in later fiction, being derived from her legacy. Tzvetan Todorov's perspective is considered, inasmuch as he defends the presence of multiple genres inside a work of fiction, as well as the creation of new literary genres from other, pre-existent, ones. It is concluded that the novel manifests enough elements to comprise both the genres here discussed, with its common and different traits.
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Pelka, Angelika. "„Powiastki cmentarne” Bolesława Prusa — literatura grozy na miarę drugiej połowy XIX wieku?" Literatura i Kultura Popularna 27 (December 29, 2021): 155–65. http://dx.doi.org/10.19195/0867-7441.27.12.

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The article addresses the problem of identifying and defining the functions of selected horror genre traits in Bolesław Prus’ story Powiastki cmentarne. In this short narrative form, referring subtly to Gothic style, not only the basic intention of raising the dread in the recipient, but also the need to address metaphysical issues are noticeable, which are usually excluded from reflection on the positivistic literature. Particular attention in this work is given to the literary genre used by the writer, which is a hybrid of a philosophical fiction with a Gothic one, and the influence this form has on the final tone of the work.
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Voicu, Ana. "Reading Habits in Jane Austen’s Northanger Abbey." Studia Universitatis Babeș-Bolyai Philologia 66, no. 2 (March 30, 2021): 175–90. http://dx.doi.org/10.24193/subbphilo.2021.2.12.

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"Reading Habits in Jane Austen’s Northanger Abbey. This article focuses on the way Catherine Morland, Northanger Abbey’s heroine, is influenced and even guided by the literature she either chooses or is given to read. Her reading habits, as well as her changing typologies as a reader, influence both the development of her character and the narrative. This study also debunks the idea that Northanger Abbey is a parody of Gothic fiction, contextualizing book reading in an age when the novel was yet to be considered a respectable literary genre. Keywords: wise reader, the avid reader, the hypocritical reader, character development, narrative development, Gothic fiction, novel theory"
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Sum, Robert. "Aspects of Gothic Tradition in the Literary Imagination of Nnedi Okorafor." Journal of Law and Social Sciences 4, no. 3 (May 27, 2022): 21–30. http://dx.doi.org/10.53974/unza.jlss.4.3.759.

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The Gothic writing has often been perceived as a form of Western fiction- making. This apparently is based on the fact that Gothic genre originated in Europe in the late 18th century and has been widely exploited in the West (Europe and North America). Contrary to these assumptions, it can be confirmed that Gothic mode has indeed been appropriated by many non–Western fiction writers. An in- depth interrogation of Nnedi Okorafor’s, selected novels like ‘Who Fears death’, Akata Witch and The Book of Phoenix reveal that she does indeed appropriate Gothic elements. This article therefore critically examines aspects of Gothic tradition in Nnedi Okorafor’s selected novels. It seeks to portray how unique Gothic motifs like monstrosity, villainy and morality have been appropriated, transformed and complicated in Nnedi Okorafor’s selected novels ‘Who Fears death’, ‘Akata Witch’ and ‘The Book of Phoenix’. This study found out that that the three motifs indeed exist in Okorafor’s selected novels and are closely related. Gothic Monsters are generally implicated in subversion of social norms and nature. This often renders them villainous and their defeat, as portrayed in the analysed texts, leads to a restoration of moral order in a given society. Yet the findings affirm that physical or moral monstrosity of a character does not necessarily qualify her or him to be a villain. Villainy is tied to innate monstrosity which manifests itself through characters’ inhuman, unjust, and oppressive attitude towards the perceived other. This piece therefore concludes that Nnedi Okorafor does indeed appropriate the Gothic motifs of monstrosity, villainy and morality in a manner that offers radically fresh means of highlighting Africa’s complex reality.
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Evans, Rebecca. "Geomemory and Genre Friction: Infrastructural Violence and Plantation Afterlives in Contemporary African American Novels." American Literature 93, no. 3 (July 26, 2021): 445–72. http://dx.doi.org/10.1215/00029831-9361265.

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Abstract This essay argues that contemporary African American novels turn to the gothic in order to dramatize the uncanny infrastructural and spatial afterlives of the plantation through a literary strategy it identifies as geomemory: a genre friction between mimetic and gothic modes in which postplantation spaces in the US South are imbued with temporal slippages such that past and present meet through the built environment. Tracing the plantation’s environmental and infrastructural presence in the Gulf Coast and throughout the US South, this essay argues that the plantation’s presence is fundamentally gothic. Geomemory, a trope evident across the emerging canon of contemporary African American fiction, allows writers to address the representational challenge of infrastructural and spatial violence via a defamiliarizing chronotope in which past, present, and future come into uneasy contact. Further, geomemory’s particular enmeshment with spatial design and infrastructure means that it moves from identifying the modern afterlife of the plantation to situating the present in the long context of plantation modernity.
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Cucarella-Ramon, Vicent. "The black female slave takes literary revenge: Female gothic motifs against slavery in Hannah Crafts’s "The Bondwoman’s Narrative"." Journal of English Studies 13 (December 15, 2015): 19. http://dx.doi.org/10.18172/jes.2786.

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The Bondwoman’s Narrative is a novel that functions as a story made up from Hannah Crafts’s experiences as a bondwoman and thus merges fact and fiction giving a thoroughly new account of slavery both committed to reality and fiction. Following and taking over the Gothic literary genre that spread in Europe as a reaction toward the Romantic spirit, Crafts uses it to denounce the degrading slavery system and, mainly, to scathingly attack the patriarchal roots that stigmatize black women as the ultimate victims. It is my contention that Hannah Crafts uses the female Gothic literary devices both to attack slavery and also to stand as a proper (African) American citizen capable of relating to the cultural outlets that American culture offered aiming to counteract the derogatory stereotypes that rendered African American women at the very bottom of the social ladder.
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Carter, David. "The literary field and contemporary trade-book publishing in Australia: Literary and genre fiction." Media International Australia 158, no. 1 (January 7, 2016): 48–57. http://dx.doi.org/10.1177/1329878x15622078.

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This article examines fiction as a major sector of trade-book publishing in exploring the place of Australian publishing within a globalised industry and marketplace. It traces the function of ‘literary fiction’ as industry category and locus of symbolic value and national cultural capital, mapping its structures and dynamics in Australia, including the impact of digital technologies. In policy terms, literature and publishing remain significant sites of national and state government investment. Following Bourdieu’s model of the field of cultural production, the literary/publishing field is presented as exemplary rather than as a high-cultural exception in the cultural economy. Taking Thompson’s use of field theory to examine US and UK trade publishing into account, it analyses the industry structures governing literary and genre fiction in Australia, demonstrating the field’s logic as determined by the unequal distribution of large, medium-sized and small publishers. This analysis reveals distinctive features of the Australian situation within a transnational context.
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Dissertations / Theses on the topic "Gothic fiction (Literary genre), Australia"

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Roma, Rebecca Looser Devoney. "Gothic mutability the flux of form and the creation of fear /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6566.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on Dec. 18, 2009). Thesis advisor: Dr. Devoney Looser. Includes bibliographical references.
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Ogston, Linda C. "The clone as Gothic trope in contemporary speculative fiction." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21487.

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In February 1997, the concept of the clone, previously confined to the pages of fiction, became reality when Dolly the sheep was introduced to the world. The response to this was unprecedented, initiating a discourse on cloning that permeated a range of cultural forms, including literature, film and television. My thesis examines and evaluates this discourse through analysis of contemporary fiction, including Kazuo Ishiguro's Never Let Me Go (2005), Stefan Brijs's The Angel Maker (2008), Duncan Jones's Moon (2009), and BBC America's current television series Orphan Black, which first aired in 2013. Such texts are placed in their cultural and historical setting, drawing comparisons between pre- and post-Dolly texts. The thesis traces the progression of the clone from an inhuman science fiction monster, to more of a tragic "human" creature. The clone has, however, retained its fictional portrayal as "other," be that double, copy or manufactured being, and the thesis argues that the clone is a Gothic trope for our times. The roots of the cloning discourse often lie in Gothic narratives, particularly Mary Shelley's Frankenstein (1818), which is analysed as a canonical cloning text. Each chapter focuses on a source of fascination and fear within the cloning discourse: the influence of Gothic paternity on the figure of scientist; the notion of the clone as manufactured product, victim and monster; and the ethical and social implications of cloning. There is a dearth of critical analysis on the contemporary literary clone, with the most comprehensive study to date neither acknowledging the alignment of cloning and the Gothic nor demonstrating the impact of Dolly on fictional portrayals. My thesis addresses this, interweaving fiction, science and culture to present a monster which simultaneously embodies difference and sameness: a new monster for the twenty-first century.
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West, Melissa Ann. "Hauntings in the church counterfeit Christianity through the fin de siécle Gothic novel /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.

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Arauujo, Susana Isabel Arsenio. "Naturalism, metafiction, romance and gothic : rewriting literary genre in the short fiction of Joyce Carol Oates." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555254.

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McRobert, Neil. "The new labyrinth : reading, writing and textuality in contemporary Gothic fiction." Thesis, University of Stirling, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605851.

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This thesis examines the forms and functions of self-consciousness in contemporary Gothic fiction. Though self-consciousness is an often-mentioned characteristic of Gothic writing, it has yet to be explored in sufficient depth. In particular, critics have failed to recognise the manner in which the myriad forms of textual and generic self-reflexivity at work contribute to the fiction’s fearful agenda: how self-consciousness in the Gothic is itself Gothicised. This thesis argues that, rather than being an ancillary quirk of generic coherence or an indication of creative exhaustion, self-consciousness has become an integral part of the genre’s terroristic project, a new source and representational mode of terror. In the wake of postmodern and post-structural theory, the genre’s longstanding interest in reading, writing and textuality has been renewed, re-contextualised and redeployed as a key feature of the Gothic ‘effect’. My original contribution to knowledge is a charting of the intersections between the Gothic and this critical perspective on the text. In particular I explore how the Barthesian reorientation of the text is redeployed in Gothic fiction as a source of terror. Rather than pursuing an author-centric division of chapters I have organised the thesis around types of self-conscious commentary that occur throughout the contemporary Gothic. These are: a focus on the process of writing and textual composition; the internalisation and Gothicised representation of critical theory; an acute awareness and meta-commentary on the critical and commercial contexts of Gothic; and intertextuality. Key texts include Stephen King’s Misery (1987), Mark Danielewski’s House of Leaves (2000), Chuck Palahniuk’s Haunted (2005), A.N. Wilson’s A Jealous Ghost (2005), R. M. Berry’s Frank (2005) and Peter Ackroyd’s The Casebook of Victor Frankenstein (2008). This selection of texts is representative of a varied but coherent inward turn in the Gothic fiction of recent decades. It is, however, by no means exhaustive and supplementary evidence will be provided from additional texts. Equally, it is important to contextualise this contemporary turn in relation to an established vein of self-consciousness in the Gothic, present since its inception. As such, my approach is firstly to trace a lineage of reflexivity and to draw upon that tradition in demonstrating how contemporary Gothic writers have honed this technique to a uniquely terrifying purpose.
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Trevisoli, Maisa dos Santos. "Branca como a morte : o gótico e o palimpsesto em releituras de Branca de Neve e os Sete Anões /." Araraquara, 2019. http://hdl.handle.net/11449/182429.

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Orientador: Aparecido Donizete Rossi
Banca: Karin Volobuef
Banca: Fernanda Aquino Sylvestre
Resumo: O presente trabalho tem o objetivo de promover relações teórico-críticas entre o conceito de palimpsesto cunhado por Gérard Genette, a definição de Texto desenvolvida por Roland Barthes e o gótico. Por meio da análise das releituras da história de Branca de Neve, "Snow, Glass, Apples", de Neil Gaiman, e "Branca dos Mortos e os Sete Zumbis", de Fábio Yabu, buscamos dar um novo olhar ao processo de revisitação de contos de fadas: pelo viés do gótico. Assim como o palimpsesto mostra sombras dos textos anteriores, a releitura possui sombras das obras que revisitam. Essas sombras são profundas, indo além das personagens, cenários e enredo que nos são familiares. A leitura analítica de uma releitura percebe as sombras das lacunas deixadas pelos contos de fadas. Entendemos que assim como uma releitura possui sombras de textos anteriores, algo unheimlich (FREUD, 2010) na temática ou estilo, o processo revisionista pode ser estruturalmente unheimlich. A leitura do processo revisionista como algo unheimlich, estruturalmente gótico, permite uma reflexão sobre as sombras que levaram os autores a reinterpretarem o conto da Branca de Neve da maneira que fizeram, além de ajudar a estabelecer as similaridades entre o conto de fadas e o gótico. Essas relações entre gêneros permitem discutir o teor gótico amplamente presente nas releituras de contos de fadas estudadas, possibilitando o entrelaçamento dos dois universos. Com base em teorias de Fred Botting, Sigmund Freud, Roland Barthes, Gerárd... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research aims to promote theoretical-critical relations among the concept of palimpsest coined by Gérard Genette, the definition of Text developed by Roland Barthes, and the Gothic. By analyzing Neil Gaiman's "Snow, Glass, Apples", and "Branca dos Mortos e os Sete Zumbis" by Fábio Yabu, which are retellings of "Snow White", it is intent to give a new perspective to the process of retelling fairy tales: through the notion of gothic. Just as it is possible to discern shadows of previous texts in a palimpsest, the retellings carry shadows of the works it revisits. These shadows are deep, and go beyond familiar characters, scenarios and plot. The analytical reading of a retelling notices the shadows inside the fissures left by the fairy tales. It is believed that just as a retelling contains shadows of earlier texts that causes an unheimlich (FREUD, 2010) sensation in terms of theme or style, the retelling process structure can be unheimlich. Considering the retelling process as something unheimlich, or structurally Gothic, allows researchers to better understand the shadows that led the authors to retell Snow White tale in the way they did. In addition, it helps to establish the similarities between fairy tale and gothic. The relation between these genres promotes a wider discussion about the use of Gothic content in the fairy-tale retellings studied in this work, promoting the interweaving of both universes. Based on theories of Fred Botting, Sigmund Freud, Roland Barthes,... (Complete abstract click electronic access below)
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Magie, Lynne Adele. "The daemon Eros : Gothic elements in the novels of Emily and Charlotte Brontë, Doris Lessing, and Iris Murdoch /." Thesis, Connect to this title online; UW restricted, 1988. http://hdl.handle.net/1773/9448.

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Lawrence, Jennifer Thomson. "The Third Person in the Room: Servants and the Construction of Identity in the Eighteenth-Century Gothic Novel." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04172008-130053/.

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Thesis (Ph. D.)--Georgia State University, 2008.
Title from file title page. Malinda Snow, committee chair; Murray Brown, Tanya Caldwell, committee members. Electronic text (223 p.) : digital, PDF file. Description based on contents viewed July 11, 2008. Includes bibliographical references (p. 215-223).
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Woo, Chimi. "Cross-Cultural Encounter And The Novel: Nation, Identity, And Genre In Nineteenth-Century British Literature." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1204725332.

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Farrow, Erin. "Somewhere Between: The Shifting Trends in the Narrative Strategies and Preoccupations of the Young Adult Realistic Fiction Genre in Australia." Thesis, 2017. https://vuir.vu.edu.au/35052/.

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‘Young adult realistic fiction’ is a classification used by contemporary publishers such as Random House, McGraw Hill Education and Scholastic, who define it as ‘stories with characters, settings, and events that could plausibly happen in true life’ (Scholastic 2014). From the first Australian young adult imprint in 1986 it has become possible to trace substantial shifts in the trends of genre. This thesis explores some of the ways that the narrative structures and preoccupations of contemporary Australian young adult realistic fiction novels have shifted, particularly in regards to the portrayal of the main protagonist’s self-awareness, the complexity of the subject matter being discussed and the unresolved nature of the novels’ endings. The significance of these shifting trends within the genre is explored by means of a creative component and an accompanying exegesis. Through my novel, Somewhere between, I aim to consider and build on the changing narrative structures and preoccupations of Australian novels of the young adult realistic fiction genre. The exegesis uses the examination of representative Australian YA novels published between 1986 and 2013 to demonstrate the shifting trends in these three main narrative structures and preoccupations. The gradual, steady, shift in the narrative structures and preoccupations of the genre away from stability and assurance gives evidence of shifting notions of childhood and adolescent subjectivity within contemporary Australian society.
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Books on the topic "Gothic fiction (Literary genre), Australia"

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Peripheral fear. New York: P.I.E. Peter Lang, 2009.

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Stephanie, Trigg, ed. Medievalism and the Gothic in Australian culture. Turnhout, Belgium: Brepols Publishers, 2005.

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Chaplin, Susan. Gothic literature. New York: Pearson Longman, 2011.

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Twenty-first-century gothic. Newcastle upon Tyne: Cambridge Scholars, 2010.

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Gothic anthology: Gothic tales from The mount school. [England]: Mardibooks, 2013.

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Tropical gothic. Roma: Aracne, 2010.

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Louis, Stevenson Robert. The story of a lie. London: Hesperus Press, 2008.

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Robert Louis Stevenson. The story of a lie. London: Hesperus Press, 2008.

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21st-century Gothic: Great Gothic novels since 2000. Lanham, Md: Scarecrow Press, 2011.

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Queering the gothic. Manchester, UK: Manchester University Press, 2009.

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Book chapters on the topic "Gothic fiction (Literary genre), Australia"

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Petrie, Duncan. "Scottish Gothic and the Moving Image: A Tale of Two Traditions." In Scottish Gothic, 181–94. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474408196.003.0014.

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The Gothic has long been acknowledged as a significant cultural influence within Britain’s cinematic heritage. Locating the roots of the British contribution to cinematic horror in the familiar literary terrain of classic Gothic fiction initiated in the late eighteenth century by Horace Walpole, Ann Radcliffe and M. G. Lewis, Pirie makes a persuasive case for the value of the genre and its centrality to the cultural specificity of a (then critically undervalued) ‘national’ cinema. But what is immediately striking from a contemporary, post-devolutionary vantage point is the Anglocentrism of the analysis as conveyed by the interchangeable use of the terms ‘English’ and ‘British’ throughout his book. Moreover, while acknowledging that ‘the role of Ireland in Gothic literature is immense’ (1973: 96), Pirie proceeds to co-opt C. R. Maturin’s Melmoth the Wanderer (1820) – for him a foundational text alongside Lewis’s The Monk (1796) – to a singularly English literary tradition.
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Bulfin, Ailise. "‘In that Egyptian den’: situating The Beetle within the fin-de-siècle fiction of Gothic Egypt." In Richard Marsh, popular fiction and literary culture, 1890-1915. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526124340.003.0007.

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This chapter analyses the relationship between Marsh’s bestselling novel of Egyptian malevolence, The Beetle: A Mystery (1897), and a subgenre of Gothic Egyptian fiction which developed partially in response to contentious Anglo-Egyptian political relations. Marsh began writing his novel in 1895, the same year General Herbert Kitchener launched his famous and ultimately successful campaign to quell Islamic-nationalist rebellion in northern Sudan, then indirectly under Anglo-Egyptian control. This chapter exposes the links between the novel and colonial politics, placing The Beetle within the context of Anglo-Egyptian and Sudanese conflict, rather than broadly reading it against general imperial concerns. The chapter provides a fuller picture of both the remarkable revival of the Gothic literary mode at the fin de siècle and the society in which this literary phenomenon occurred. The chapter also reveals how Marsh’s text dramatically exceeded Gothic Egyptian genre conventions in its emphasis on pagan as well as colonial monstrosity.
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Dobson, Eleanor. "‘Wonderful things’: Howard Carter, Literary Genre and Material Intertextuality." In Writing the Sphinx, 21–58. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474476249.003.0002.

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This chapter considers the generic and material conventions of writings by Egyptologists alongside those of fiction, observing a multifaceted intertextual relationship between these forms. I outline how book designs incorporating gilt mimicked Egyptian artefacts, capitalising upon the sensationalism with which discoveries of gold relics were reported whereby these objects were coded as ‘treasure’. Further to the physical parallels between Egyptological writing and fiction, this chapter charts mutual textual influences. With particular focus on the first two volumes of The Tomb of Tut·ankh·Amen (1923; 1928), it compares the published version of accounts of discovery to Howard Carter’s original notes recorded at the time of the excavations, shedding light on a revised and romanticised narrative, and paying attention to both the atmospheric effects of Harry Burton’s photographs as well as the tangible influence of the novelist Percy White. Considering, too, the account of the death of Carter’s canary published in Pearson’s Magazine as ‘The Tomb of the Bird’, it discusses Carter’s conflicted relationship with the notion of the pharaoh’s curse, proposed by some as being behind the death of Carter’s patron, the fifth Earl of Carnarvon – by this time a familiar trope of Gothic fiction.
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Prideaux, Desirée. "‘Breathless Men’." In Sleuthing Miss Marple, 181–94. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800854642.003.0010.

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Chapter Nine revisits the ‘Breathless Men’ of Christie’s crime fiction. Research on literary strategies used by gothic writers to limit the agency of female characters is cited. These analyses are applied to Christie’s fiction to reveal similar narrative strategies which restrict the activities of male characters. Christie’s breathless men bear striking similarities to the heroines of gothic fiction. They are overly sensitive to their surroundings, easily overwhelmed by emotion, and incapacitated by their exposure to the Gothic. In further congruence with gothic heroines, male characters are not ceded textual power, and they do not manage to investigate crimes on their own. Instead, the stories unfold in such a way that the mystery may only be resolved by others. A series of episodes that occur at gothic moments in the Marple mysteries is also analysed. This chapter argues that they provide evidence of Christie’s stealthy engagements with gender, genre, and agency.
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Pangborn, Matthew. "Dead again: zombies and the spectre of cultural decline." In The Gothic and Death. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784992699.003.0010.

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This chapter investigates the Gothic as a mode of writing that escaped generic literary boundaries during the British debates over the French Revolution in order to express more widespread fears of cultural decline. Positing the current ubiquity of the zombie as a resurgence of this Gothic mode, the chapter explores zombie-apocalypse texts as expressing a return of Malthusian worries about population growth, climate change, financial instability, and energy insecurity. The zombie-apocalypse genre, popularized by George A. Romero’s Night of the Living Dead (1968), released within a few years of U.S. peak oil production, has become a mainstay of global cinema, fiction, and television in the recent international scramble for alternative energy sources. These texts, like the Gothic in its first heyday, demonstrate a conflicted desire both to confront and dismiss problems that seem as inconceivable as they appear to be insoluble. Today’s zombie stands, then, much as the envisioned undead did for earlier British writers like Edmund Burke and Mary Wollstonecraft, as the spectre of regression so unimaginable within the reigning cultural narrative of the time that its nightmarish possibility may be repressed by the very same spectacle of apocalyptic carnage used to figure it.
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