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Journal articles on the topic 'Gothic literature'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Donnar, Glen. "“It’s not just a dream. There is a storm coming!”: Financial Crisis, Masculine Anxieties and Vulnerable Homes in American Film." Text Matters, no. 6 (November 23, 2016): 159–76. http://dx.doi.org/10.1515/texmat-2016-0010.

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Despite the Gothic’s much-discussed resurgence in mainstream American culture, the role the late 2000s financial crisis played in sustaining this renaissance has garnered insufficient critical attention. This article finds the Gothic tradition deployed in contemporary American narrative film to explore the impact of economic crisis and threat, and especially masculine anxieties about a perceived incapacity of men and fathers to protect vulnerable families and homes. Variously invoking the American and Southern Gothics, Take Shelter (2011) and Winter’s Bone (2010) represent how the domestic-everyday was made unfamiliar, unsettling and threatening in the face of metaphorical and real (socio-)economic crisis and disorder. The films’ explicit engagement with contemporary American economic malaise and instability thus illustrates the Gothic’s continued capacity to lay bare historical and cultural moments of national crisis. Illuminating culturally persistent anxieties about the American male condition, Take Shelter and Winter’s Bone materially evoke the Gothic tradition’s ability to scrutinize otherwise unspeakable national anxieties about male capacity to protect home and family, including through a focus on economic-cultural “white Otherness.” The article further asserts the significance of prominent female assumption of the protective role, yet finds that, rather than individuating the experience of financial crisis on failed men, both films deftly declare its systemic, whole-of-society basis. In so doing, the Gothic sensibility of pervasive anxiety and dread in Take Shelter and Winter’s Bone disrupts dominant national discursive tendencies to revivify American institutions of traditional masculinity, family and home in the wakes of 9/11 and the recession.

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2

Bhandari, Sabindra Raj. "Terror and Horror : Gothic Crosscurrents in Literature." Janapriya Journal of Interdisciplinary Studies 9, no. 1 (July 1, 2020): 35–44. http://dx.doi.org/10.3126/jjis.v9i1.46531.

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The word “Gothic” was originally implied to anything that is wild, barbarous, destructive and outlandish. When applied to literature, the term, was used both with eulogistic and disparaging connotations and became the synonyms for the grotesque, ghastly and violently supernatural. The literature was based on gloom, fear, terror and horror. In its long run, the Gothic literature got its horizon expanded with the touch of novelty and multi dimensional perspectives. This study relates the affinity between the spirits of Gothic architecture and literature that came as a vogue in late eighteenth century England. The main argument of this study is to reveal how the spirits of horror and terror intersected in literature. Similarly, it is also interesting to see how the aspects of horror and terror have crosscurrents between themselves. The more the genre found its way, there remained crosscurrents between the Gothic literatures propagated in Germany, England and France. This study is qualitative and its nature, purpose and approaches are historical. As such, this study makes a systematic and objective evaluation of facts, themes and ideas related to the previous study to understand causes, development, and trends of Gothic. This analysis helps to explain the present relevance, and also anticipates future aspects of the Gothic literature, exploring how this literature got its efflorescence in our own day being modern Gothic, which incorporates many shades of interpretations.

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3

Doyle, Laura. "At World's Edge: Post/Coloniality, Charles Maturin, and the Gothic Wanderer." Nineteenth-Century Literature 65, no. 4 (March 1, 2011): 513–47. http://dx.doi.org/10.1525/ncl.2011.65.4.513.

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Laura Doyle, “At World's Edge: Post/Coloniality, Charles Maturin, and the Gothic Wanderer” (pp. 513–547) The Gothic text has been shown to represent colonialism's crimes through its literary tropes of imprisonment, terror, rape, and tyranny. This essay takes a further step to propose that Gothic texts also register the historical resistance to colonialism's crimes. That is, they refer to anti-colonial insurgency—in Ireland, India, the Caribbean, and elsewhere—in the process evincing ambivalent anxieties about global, imperial instability. After reviewing the Gothic‘s entanglement with discourses of both liberation and barbarism, reflective of its contradictory political investments, the essay focuses on Charles Maturin's Melmoth the Wanderer (1820) to demonstrate the ways in which Gothic texts are structured against insurgency even as, in their “wandering,” haunted figures, they unveil a world in turmoil.

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4

Beidler, Peter G., and George E. Haggerty. "Gothic Fiction/Gothic Form." American Literature 62, no. 1 (March 1990): 122. http://dx.doi.org/10.2307/2926798.

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5

Adelman, Richard. "Ruskin & Gothic Literature." Wordsworth Circle 48, no. 3 (June 2017): 152–64. http://dx.doi.org/10.1086/twc48030152.

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6

Chialant, Maria Teresa, and Linda Bayer-Berenbaum. "The Gothic Imagination: Expansion in Gothic Literature and Art." Yearbook of English Studies 16 (1986): 308. http://dx.doi.org/10.2307/3507831.

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7

Fleming, PC. "The Gothic in Children’s Literature: Haunting the Borders , and: History of the Gothic: Gothic Literature, 1825–1914 (review)." Children's Literature Association Quarterly 35, no. 2 (June 2010): 213–17. http://dx.doi.org/10.1353/chq.2010.a381189.

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8

Skisova, Albina V. "Black and White Horrors: American Gothic. A Review. (Lennhardt, Corinna. Savage Horrors. The Intrinsic Raciality of the American Gothic. Bielefeld: Transcript, 2020. 286 p.)." Literature of the Americas, no. 13 (2022): 409–17. http://dx.doi.org/10.22455/2541-7894-2022-13-409-417.

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The monograph by Corinna Lenhardt (b. 1982) Savage Horrors: The Intrinsic Raciality of the American Gothic (2020) studies the problems of race, ethnicity, gender, genre and history of literature. The research is focused primarily on the American Gothic literature. Corinna Lenhardt argues that racialization is intrinsic and natural for all Gothic literature. The researcher also introduces the concept of gotheme and argues that literary Gothic is based on the unique binary opposition "savage villain / civil hero", proving this thesis on the material of the analyzed Gothic novels. The author highlights a long and destructive impact of Gothic racialization on cultural discourse in the United States, as well as Afro-American resistance to the status quo in the American Gothic literature. Corinna Lenhardt thoroughly studies early British Gothic novels, as well as WASP and African-American Gothic literature from the XVIII century to the present time.

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9

Łowczanin, Agnieszka. "Convention, Repetition and Abjection: The Way of the Gothic." Text Matters, no. 4 (November 25, 2014): 184–93. http://dx.doi.org/10.2478/texmat-2014-0013.

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This paper employs Deleuze and Kristeva in an examination of certain Gothic conventions. It argues that repetition of these conventions- which endows Gothicism with formulaic coherence and consistence but might also lead to predictability and stylistic deadlock-is leavened by a novelty that Deleuze would categorize as literary “gift.” This particular kind of “gift” reveals itself in the fiction of successive Gothic writers on the level of plot and is applied to the repetition of the genre’s motifs and conventions. One convention, the supernatural, is affiliated with “the Other” in the early stages of the genre’s development and can often be seen as mapping the same territories as Kristeva’s abject. The lens of Kristeva’s abjection allows us to internalize the Other and thus to reexamine the Gothic self; it also allows us to broaden our understanding of the Gothic as a commentary on the political, the social and the domestic. Two early Gothic texts, Walpole’s The Castle of Otranto and Lewis’s The Monk, are presented as examples of repetition of the Gothic convention of the abjected supernatural, Walpole’s story revealing horrors of a political nature, Lewis’s reshaping Gothic’s dynamics into a commentary on the social and the domestic.

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10

Waham, Jihad Jaafar. "The Art of Gothic Literature: An Analysis of Mary Shelley's Frankenstein." International Linguistics Research 6, no. 2 (April 25, 2023): p1. http://dx.doi.org/10.30560/ilr.v6n2p1.

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This article examines Mary Shelley's Frankenstein as an example of Gothic literature. The author analyzes the novel's themes, characters, and literary devices to explore how Shelley uses Gothic elements to create a complex and emotionally resonant work. The article also delves into the historical and cultural context in which the novel was written, highlighting the influence of Romanticism and Enlightenment philosophy. Ultimately, the article argues that Frankenstein is a masterpiece of Gothic literature that continues to captivate readers and inspire new interpretations. In "The Art of Gothic Literature: An Analysis of Mary Shelley's Frankenstein," the author examines Shelley's famous novel and its contribution to the Gothic literary tradition. The article explores the novel's themes, including the dangers of scientific progress, the limits of human knowledge, and the consequences of playing god. The author also analyzes the novel's structure, characterization, and use of symbolism, highlighting the ways in which Shelley draws upon Gothic conventions while also subverting them. Ultimately, the article argues that Frankenstein remains a powerful and influential work of Gothic literature that continues to captivate readers more than two centuries after its publication. This article analyzes Mary Shelley's novel "Frankenstein" through the lens of gothic literature. The author explores how Shelley incorporates various gothic elements such as supernatural occurrences, grotesque imagery, and emotional intensity to create a dark and unsettling atmosphere. The article also delves into the themes of the novel, including the dangers of playing god and the isolation and alienation experienced by the creature. Through a close reading of the text, the author highlights the literary techniques that Shelley employs to convey these themes and to create a timeless work of gothic literature. Ultimately, the article argues that "Frankenstein" remains a relevant and powerful example of the gothic genre due to its ability to evoke fear, explore complex themes, and showcase the artistry of its author.

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11

Mills, Kirstin A. "Haunted by ‘Lenore’: The Fragment as Gothic Form, Creative Practice and Textual Evolution." Gothic Studies 23, no. 2 (July 2021): 132–47. http://dx.doi.org/10.3366/gothic.2021.0090.

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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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12

Kulikova, Daria Leonidovna. "The vampires of A. V. Ivanov in light of the gothic tradition of Russian Literature." Litera, no. 6 (June 2021): 98–107. http://dx.doi.org/10.25136/2409-8698.2021.6.35873.

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The object of this research is the novel “Food Block” by A. V. Ivanov and the realization of aesthetics of the horror genre therein. The goal is to establish correlation between the gothic tradition of Russian literature and modern horror literature based on the works of the indicated authors. The article examines the influence of the gothic romantic tradition upon composition and imaginary system of A. K. Tolstoy’s novella. The material of A. V. Ivanov’s novel indicates resorting to the literary tradition on the level of composition and individual images; while overall, the historical experience accumulated by the genre over the decades and significant impact of cinematography manifested on the level of cinematographic techniques. The conclusion is made that in the novel by A. V. Ivanov, the mystical attributes of vampirism, which coincide with the pioneer symbolism, have political implications, which contradicts the horror traditions in gothics. Novellas “The Vampire” and" The Family of the Vourdalak” are the result of accumulation of gothic motifs, such as family curse, mystical house, dream, and portrait that came alive. Comparison of the techniques of creating horror literature allows tracing the paths of literary evolution, and formulating conclusions on modernization of the genre at the present stage. The novelty of this research is define by insufficient research of the topic of typological and genetic links between gothic and modern horror, namely in the works of A. V. Ivanov.

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13

Martin, Sara. "Gothic Scholars Don’t Wear Black: Gothic Studies and Gothic Subcultures." Gothic Studies 4, no. 1 (May 2002): 28–43. http://dx.doi.org/10.7227/gs.4.1.3.

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14

Davison, Carol. "The handbook to gothic literature." Women's Writing 7, no. 1 (March 1, 2000): 119–44. http://dx.doi.org/10.1080/09699080000200381.

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15

JINWAN, XUAN, and QI JING. "STRANGE STORIES FROM CHINESE STUDIOS AND GOTHIC LITERATURE." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION HUMANITIES AND COMMERCE 04, no. 04 (2023): 10–16. http://dx.doi.org/10.37602/ijrehc.2023.4402.

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The ancient Chinese horror novel Strange Stories from Chinese Strange Studio vividly shows Chinese horror in front of the readers, which is a typical representative of Chinese horror literature. Gothic literature is a crucial literary genre of Western literature. Western research on Gothic literature is rich and detailed, and Gothic literature significantly impacts British and American literature. By studying their social and historical backgrounds, this paper will analyze their similarities and differences in scenes, characters, and writing characteristics and their development and influence on the Chinese and English academic circles.

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16

Emerson, Caryl. "The Gothic Muse and Meta-Gothic Moment: Afterword to Russian Gothic Forum." Russian Literature 106 (May 2019): 109–15. http://dx.doi.org/10.1016/j.ruslit.2019.06.006.

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17

Whatley, John. "Introduction: Gothic Cults and Gothic Cultures 1: Modern and Postmodern Gothic." Gothic Studies 4, no. 2 (November 2002): 91–98. http://dx.doi.org/10.7227/gs.4.2.1.

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18

Richter, David, George E. Haggerty, and Kenneth W. Graham. "Gothic Fiction/Gothic Form." Modern Language Review 86, no. 1 (January 1991): 174. http://dx.doi.org/10.2307/3732119.

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19

Napier, Elizabeth R. ": Gothic Fiction / Gothic Form. . George E. Haggerty." Nineteenth-Century Literature 45, no. 1 (June 1990): 91–94. http://dx.doi.org/10.1525/ncl.1990.45.1.99p0294n.

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20

Loewen-Schmidt, Chad. "History of the Gothic: Gothic Literature 1764-1824 (review)." Eighteenth-Century Fiction 24, no. 1 (2011): 134–36. http://dx.doi.org/10.1353/ecf.2011.0038.

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21

Chebil, Sana. "The Gothic Representations of the City through the Fl?neur in Victorian Literature." International Journal of Language and Literary Studies 3, no. 4 (December 20, 2021): 259–67. http://dx.doi.org/10.36892/ijlls.v3i4.790.

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The Victorian Gothic moved away from old and conventional themes and spaces of early Gothic novels such as ruined castles and evil villains into more realistic spaces and characters that went hand in hand with the issues of the era. While the conventional Gothic space centered on the castle or other forms of old buildings, the city was an important component in Victorian Gothic imagery. In an era of growing mediation between the city and the urban dwellers, the gothic representations of the urban space in Victorian literature highly depended on the 'eye' of the its fl?neurs, or walkers who see, interpret, and produce the city. The fascination with modes of perceiving and seeing the mystery of the puzzling visual experience are evident in a wide variety of the nineteenth and twentieth-century theories and researches on the urban space. The focus of this paper is to graft some insights into debate on urban visuality and other related tropes that provide a range of perspectives on the field of the visual and perception of the city. Then, drawing from Victorian novels, this paper examines Dickens’s portrayals of urban subjects such as Gothic fl?neurs who produce the city as a Gothic place.

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22

Gentry, E. "The Biology of Horror: Gothic Literature and Film; Gothic Passages: Racial Ambiguity and the American Gothic." American Literature 78, no. 3 (September 1, 2006): 635–37. http://dx.doi.org/10.1215/00029831-2006-037.

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23

Namozova, Lobar Islamovna. "GOTHIC FEATURES IN KEVIN RYAN’S NOVEL “VAN HELSING”." International Journal Of Literature And Languages 03, no. 06 (June 1, 2023): 35–39. http://dx.doi.org/10.37547/ijll/volume03issue06-06.

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The Gothic novel, which appeared in English literature in the late XVIII and early XIX centuries, influenced the works of outstanding writers of all subsequent periods. The description of supernatural elements in the Gothic novel filled the reader with horror and fear. The genre of the Gothic novel, known in some sources as the "black novel", is widely developed, primarily in English literature. Gothic novels play an important role not only in English but also in world literature. They had a significant impact on the further development of many literary movements, both in Europe and in other parts of the world.

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24

Morris, David B. "Gothic Sublimity." New Literary History 16, no. 2 (1985): 299. http://dx.doi.org/10.2307/468749.

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25

REDFIELD, M. "Gothic Consciousness." Novel: A Forum on Fiction 39, no. 3 (June 1, 2006): 432–35. http://dx.doi.org/10.1215/ddnov.039030432.

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26

Riggan, William, and William Gaddis. "Carpenters Gothic." World Literature Today 60, no. 4 (1986): 630. http://dx.doi.org/10.2307/40142835.

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27

Degtyarev, Vladislav V. "Gothic Revival and the Possibility of “Gothic Survival”." Observatory of Culture 15, no. 5 (December 14, 2018): 576–83. http://dx.doi.org/10.25281/2072-3156-2018-15-5-576-583.

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The notion of “Gothic survival” is still prevalent in literature on Gothic revival architecture in England. This concept implies the possibility of the unreflexive survival of Gothic architectural tradition in some distant provincial regions, where architects, searching connections with the past or folk traditions, could find it. This notion, dating back to the literature of the beginning of the 20th century, can be convincingly refuted by analyzing the meanings and purposes of different stages of Gothic revival. The article aims to demonstrate that the use of Gothic architectural forms in the second half of the 17th — beginning of the 18th century was initiated by intellectuals and had no connection to the preservation of artisan traditions.The courtiers of Elizabeth I, re-enacting mediaeval romances and Arthurian legends, conducted the earliest known Gothic revival. The relation between Elizabethan architecture and Gothic tradition has been discussed many times. And in later decades — during the Stuart era, the Commonwealth and after the Restoration — Gothic colleges and churches were extensively built.Basing on the sources available, it can be assumed that, though there was not any chronological break in Gothic architectural tradition, Gothic revival had been ideologically biased from its very beginning. We can also say that the spread of classical architecture in England not only was unable to destroy the Gothic tradition, but also gave it new meanings and almost immediately made any appeal to Gothic forms an ideological statement.

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28

Talairach-Vielmas, Laurence. "Jarlath Killeen, Gothic Literature 1825-1914." Cahiers victoriens et édouardiens, no. 72 Automne (December 4, 2010): 250–53. http://dx.doi.org/10.4000/cve.2788.

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29

Dimitriu, Anda. "A Gothic dictionary ." Bucharest Working Papers in Linguistics 25, no. 1 (January 15, 2023): 61–76. http://dx.doi.org/10.31178/bwpl.25.1.5.

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The present work takes into consideration the Historical Dictionary of Gothic Literature which was compiled by William Hughes in 2013. Since this is a historical dictionary of literature, the entries encapsulate both concepts and the names of significant figures or works, all alphabetically organized, but lack any descriptions of lexical category or morphological features, focusing instead on the vast context in which each item could and should be used within this specialized context. Following the premise that the Gothic should be considered a “language” rather than a literary genre, this article analyses, within the parameters of metalexicography, the features of the eclectic entries, as well as the importance of William Hughes’ choices for the field of the Gothic in general. Moreover, the second part of this work deals with Hughes’s explanations for controversial terms in the field of the Gothic, which should be read as prescriptive comments for the literature.

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30

Titarenko, S. D., and M. M. Rusanova. "GOTHIC TRADITION IN LITERATURE FROM THE PERSPECTIVE OF INTERMEDIAL ANALYSIS." Culture and Text, no. 44 (2021): 43–55. http://dx.doi.org/10.37386/2305-4077-2021-1-43-55.

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The article is devoted to the insufficiently studied problem of using intermedial analysis for studying the Gothic tradition in the literature of Russian symbolism (on the example of V. Brusov’s and F. Sologub’s works). We focus our attention on transition a visual image or a medieval art motive from one sign system to another. We analyze how medieval cultural categories correspond to the chronotope and figurative system in the Gothic novels of the 18th - early 19th century. It is concluded that the Symbolists refer to the visual images of the Gothic novel not only as elements of tradition, but also as categories of the culture of the Middle Ages.

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31

Walker, Shauna. "Gothic Modernisms: Modernity and the Postcolonial Gothic in Tayeb Salih's Season of Migration to the North." Gothic Studies 22, no. 3 (November 2020): 285–99. http://dx.doi.org/10.3366/gothic.2020.0062.

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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.

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32

AĞIR, Barış. "Toplumsal Cinsiyet, Anlatı Türü ve Kadın Gotiği: Angela Carter’ın “Kanlı Oda” ve Charlotte Perkins Gilman’ın “Sarı Duvar Kağıdı” Öykülerinde Ataerkil Normlara Direniş." Journal of International Scientific Researches 8, no. 2 (July 10, 2023): 237–56. http://dx.doi.org/10.23834/isrjournal.1292294.

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The female gothic reinterprets works by female authors by fusing feminism and the study of gothic literature. In actuality, it represents a significant advancement in the study of gender in Gothic literature. In works written in the gothic style by women, the oppression of women in patriarchal society is reflected, and the destruction of women at the hands of patriarchy is emphasized throughout gothic art; in this sense, the resilience of the female gothic protagonists in the face of adversity symbolizes their maturation as women. Based on this context, this research attempts to compare "The Bloody Chamber" by Angela Carter with "The Yellow Wallpaper" by Charlotte Perkins Gilman from the standpoint of the feminine Gothic fiction. The dark tragedies that await women in patriarchal culture are explored by Carter and Gilman in ways that transcend beyond the normal boundaries of the gothic genre. By contrasting the narratives, this study aims to show how women begin to question and even demolish patriarchal chauvinism and move away from their subservient position in patriarchal society.

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Luckhurst, Roger. "Corridor Gothic." Gothic Studies 20, no. 1-2 (November 2018): 295–310. http://dx.doi.org/10.7227/gs.0050.

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34

Sage, Victor. "Gothic Histories." Gothic Studies 3, no. 1 (April 2001): 84–89. http://dx.doi.org/10.7227/gs.3.1.9.

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35

Schwenger, Peter. "Gothic Optics." Gothic Studies 7, no. 1 (May 2005): 102–9. http://dx.doi.org/10.7227/gs.7.1.10.

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36

Fitzgerald, Lauren. "Female Gothic and the Institutionalization of Gothic Studies." Gothic Studies 6, no. 1 (May 2004): 8–18. http://dx.doi.org/10.7227/gs.6.1.2.

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37

Duncan, Rebecca. "Decolonial Gothic: Beyond the Postcolonial in Gothic Studies." Gothic Studies 24, no. 3 (November 2022): 304–22. http://dx.doi.org/10.3366/gothic.2022.0144.

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This article theorises decolonial Gothic as a novel approach to Gothic fiction from formerly colonised regions and communities. It responds to an emerging body of Gothic production, which situates itself in a world shaped by persistently racialised distributions of social and environmental precarity, and where colonial power is thus an enduring material reality. To address such fiction, the article proposes, requires a reassessment of the hauntological frameworks through which Gothic and the (post)colonial have hitherto been brought into contact. Forged in the cultural climate of late-twentieth-century postmodernity, these hinge on the assumption of an epochal break, which renders colonial history a thing of the past; thus, they fall short of narratives that engage with active formations of colonial power. Accordingly, the article outlines an alternative approach, positioning Gothic fiction in the context of the capitalist world-system, which – into the present – is structured by colonial categories of race, heteropatriarchal categories of gender, and instrumentalising discourses of nature as plunderable resource.

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38

Cliff, Brian. "‘Secrets and Lies’: Gothic Elements in Irish Crime Fiction." Irish University Review 53, no. 1 (May 2023): 159–72. http://dx.doi.org/10.3366/iur.2023.0595.

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Irish crime fiction has largely been a contemporary phenomenon, but it has already shown itself to have highly various preoccupations and influences, including Irish gothic modes as well as the work of international crime writers like Patricia Highsmith and Ross Macdonald. Macdonald’s Lew Archer novels, in particular, are marked by a thematic obsession with ruined and ruinous families, with children cast adrift on seas of generational corruption. Such deep connections between gothic modes, family secrets, and crime fiction offer a cultural foundation that has served Irish crime and mystery writers well. Their narratives weave together local elements with the kinds of genre writing that have, until recent decades, often been seen as importations, as mere pieces in the flotsam and jetsam of transatlantic culture, or as actively contributing to the destabilization of life on the island. Although this essay examines the sometimes spectacular gothic elements in novels by Tana French, John Connolly, and Stuart Neville, the focus is rather on versions of Irish family gothic that surface in the writing of Liz Nugent, Andrea Carter, Declan Hughes, and others. Nugent, for example, fuses a penchant for Highsmithian sociopathic narrator-protagonists with her own sharp eye for familial bloodletting, while Hughes traces generations of corruption through his narrator’s haunting sensations of dislocation and uncanny unease in a Dublin where he has become at once an insider and an outsider. Through their use of such elements, at once intimately specific and readily adaptable, Irish crime writers have both animated their genre and further affirmed the vitality of Irish gothic’s fluid legacy.

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Sagidulliyeva, S. S., M. S. Orazbek, and R. B. Sultangaliyeva. "Chronotope problem in gothic works." Bulletin of the Karaganda university Philology series 111, no. 3 (September 30, 2023): 129–36. http://dx.doi.org/10.31489/2023ph3/129-136.

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It is known that Gothic literature had previously become the object of study of many writers. The history of the formation and stages of the development of Gothic literature and plot specifics, chronotope, the way of transmitting characters and the system of motives, etc. were considered as an urgent problem of the study. Although the manifestation of Gothic elements was considered in English, European, Russian literature, the picture of the Gothic genre in Kazakh literature has not yet been considered to the fullest extent. In the works of writers of the period of independence, D. Kostolin, K. Mubarak, M. Omarova, M. Malik, A. Adilbek, national codes that reproduce our national knowledge, the suffix of folklore forgotten today, shaking consciousness are set forth. We analyze the works of the authors based on a small plot, a national worldview based on a new form, a formal search. The method of transmitting the Gothic style was analyzed, including the authors' consideration of the chronotopic situation. New practices of writers in providing time and space are considered.

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Dang, Trang, and Justin Edwards. "Anthropocene and the Gothic: An Interview with Justin Edwards." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 190–201. http://dx.doi.org/10.37536/reden.2022.3.1834.

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Justin Edwards is a professor in the Division of Literature and Languages at the University of Stirling. Previously Chair of English at the University of Surrey and professor and head of English at Bangor University, he was elected by-fellow of Churchill College, Cambridge in 2005. Between 1995 and 2005, he taught at the University of Montreal and the University of Copenhagen, where he was appointed as an associate professor in 2002. He holds an Affiliate Professorship in U.S. Literature at the University of Copenhagen and in 2016-2017 he was a Fulbright scholar at Elon University, North Carolina. He is also a member of the Peer Review College for the Arts and Humanities Research Council (AHRC) and a Trustee of the Modern Humanities Research Association (MHRA). Justin’s contribution to the study of Gothic literature started with Gothic Passages: Racial Ambiguity and the American Gothic, which examines the development of U.S. Gothic literature alongside 19th-century discourses of passing and racial ambiguity. In Gothic Canada: Reading the Spectre of a National Literature, he continued in the area by examining how collective stories about national identity and belonging tend to be haunted by artifice.

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Duncan, Rebecca. "Introduction: Decolonising Gothic." Gothic Studies 24, no. 3 (November 2022): 219–27. http://dx.doi.org/10.3366/gothic.2022.0138.

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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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Fox, Renée. "Gothic Realism, or Reading is Believing in Dracula." Irish University Review 53, no. 1 (May 2023): 9–26. http://dx.doi.org/10.3366/iur.2023.0587.

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This essay explores the ways Bram Stoker brings eighteenth-century affective gothic reading practices to bear on Victorian fiction’s investments in realism. By investigating modes of affective reading in Dracula, the essay develops a definition of ‘gothic realism’ to describe an affective experience of the real that gothic fiction offers in place of verisimilitude and representations of everyday life. Beginning by tracing the explicit and implicit histories of this term through both literary criticism and the gothic tradition, the essay turns to Dracula to discover an alternative definition of ‘gothic realism’ that bridges a longstanding divide between the colonial fractures intrinsic to nineteenth-century Irish literature and the claims to coherent representational reality usually aligned with the Victorian novel. ‘Gothic realism’ becomes a term, and a reading practice, for newly understanding how the gothic entwines with realism across both British and Irish nineteenth-century fiction, not as its critical antithesis, or as its hidden secret, but as an affective mode through which we can see nineteenth-century Irish novels representing the realities of the world around them.

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Kliś, Agnieszka. "The Marginality of the Gothic: A Reconsideration." Text Matters, no. 2 (December 4, 2012): 97–114. http://dx.doi.org/10.2478/v10231-012-0057-4.

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It is commonly accepted that we discuss the Gothic in terms of the margin. These two seem to be inseparable and associating them appears “just natural.” However, in light of the contemporary critical debate on the ubiquity of the Gothic, the mode’s “natural” marginality might appear somewhat out of place. While the Gothic is still increasingly popular in popular culture, it has also become incredibly popular among literary scholars. In fact, it not only permeates the culture we live in, but it also appears to occupy a mainstream position in academia these days. Viewing the Gothic as a notion shaped to a certain extent by the critic, this article investigates—and reconsiders—the persistence of the Gothic margin in contemporary critical discourse. Following Paul A. Bové’s consideration of the ways in which institutionalized criticism partakes in discourse, it sees contemporary Gothic criticism as at least potentially operating within discourse in Michel Foucault’s terms, and thus considers the possibility of the Gothic margin being in fact a critical construct, functional within the contemporary discourse of criticism. Hence, the article poses questions about the origin of Gothic marginality, the contemporary status of the Gothic margin and its potential functionality, and finally, possible results of the loss of the marginal status for the Gothic as a critical object. It seeks the answers by means of scrutinizing critical accounts, such as Fred Botting and Dale Townshend’s introduction to the Critical Concepts series on the Gothic, and by contrasting different attempts at (re)presenting the Gothic and its status. Finally, it considers the distinction between the past—the era of critical neglect—and the present—allegedly the times of the vindication of the Gothic. In so doing, it aims at determining whether and why the marginality of the Gothic could indeed turn out to be constructed by the critics.

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Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (January 29, 2015): 105–23. http://dx.doi.org/10.2478/stap-2014-0010.

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Abstract This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern—that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.

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Alexander, Christine. ""That Kingdom of Gloo": Charlotte Brontë, the Annuals, and the Gothic." Nineteenth-Century Literature 47, no. 4 (March 1, 1993): 409–36. http://dx.doi.org/10.2307/2933782.

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While Charlotte Brontë has been hailed as a writer of the "New Gothic," hers is not an isolated revision of so-called "old" Gothic but one that sprang naturally from a variety of contemporary source material in the period. This article examines the Brontë juvenilia and its sources in order to show that this change was as much a continuum in the history of literature as a new departure. The article focuses on the periodical literature of the early nineteenth century, in particular the Annuals that were introduced to the English market in 1822 and that continued to print Gothic tales and fragments well into the 1850s. From the Annuals Brontë learned not only to imitate but to parody the Gothic form: her early writings show that the Gothic allowed her to indulge in the exotic, the licentious, and the mysterious while at the same time assuming that anti-Gothic stance that is so characteristic in her novels. Moreover, her use of the Gothic doppelgänger allowed her to probe the psychological contradictions of her heroes Percy and Zamorna. Here we see Brontë's first step toward examining those "terrors that lie deep in the human soul." The deliberately complicated narrative can also be read as Gothic: it is a maze distorter by rival narrators and constructed chiefly from literary and visual models with the intention to confuse and amuse not only her siblings but her imagined audience. The Gothic provided basic material in this "play": a set of conventions that could be used first as raw material, then as the chief ingredient of parody, and finally-though gradually-as a means to explore the riddles of our thought and feeling.

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Macfarlane, Karen E. "Creepy Little Girl." Gothic Studies 25, no. 1 (March 2023): 1–19. http://dx.doi.org/10.3366/gothic.2023.0150.

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The Creepy Little Girl is a subset of the Gothic Child and as such, she works differently from the evil child or the monstrous child in contemporary Gothic. Unlike the contradictions inherent in representations of the evil child whose presence is disruption and destruction, or the monstrous child who is dangerous, the Creepy Little Girl serves as a function of the Gothic: she is that figure through which the narrative is unsettled and the Gothic intrudes. The Creepy Little Girl is defined by her hypergendered position in the narratives in which she appears: as both ‘little’ and very much as ‘girl’. The little girl's presence in contemporary gothic narratives destabilises the familiar, the domestic, and the cute and that is the basis for the gothic unease that she engenders.

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Taylor, Tosha R. "Gothic Doubling and Fractured Identity in Shōjo Manga: Yuki Kaori’s Angel Sanctuary." Gothic Studies 25, no. 3 (November 2023): 300–317. http://dx.doi.org/10.3366/gothic.2023.0177.

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Despite enjoying a global fandom in the late 1990s and early 2000s, Yuki Kaori’s manga series Angel Sanctuary (1994–2000) has received little consideration in studies of the Gothic. Yet the manga presents Gothic scholars with rich opportunities for locating manga, and particularly shōjo (young girls’) manga, within its own Gothic tradition. Steeped in global religious imagery, Angel Sanctuary uses incest, genderbending, and fractured identities to explore trauma and to critique the cross-cultural hegemonies that produce it. This essay considers the relationship between the Gothic and gendered identity in Japanese girls’ comics and investigates its manifestations in the manga’s depictions of incest, twins, and traumatic formations of the doppelgänger. In doing so, the essay locates Yuki’s work alongside the Female Gothic and argues for the increased inclusion of manga in Gothic scholarship.

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Parker. "History of the Gothic: Gothic Literature 1825–1914, by Jarlath Killeen." Victorian Studies 54, no. 2 (2012): 332. http://dx.doi.org/10.2979/victorianstudies.54.2.332.

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Lebedushkina, Ol'ga. "Our New Gothic." Russian Studies in Literature 46, no. 4 (September 2010): 81–100. http://dx.doi.org/10.2753/rsl1061-1975460403.

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Lipking, Lawrence, and Marshall Brown. "The Gothic Text." Studies in Romanticism 45, no. 2 (2006): 312. http://dx.doi.org/10.2307/25602051.

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