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Journal articles on the topic 'Gothic studies'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

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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2

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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3

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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4

Coffman, C. E. "GOTHIC SEXUALITIES." GLQ: A Journal of Lesbian and Gay Studies 13, no. 4 (January 1, 2007): 595–97. http://dx.doi.org/10.1215/10642684-2007-017.

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5

Brown, Marshall. "Gothic Readers versus Gothic Writers." Eighteenth-Century Studies 35, no. 4 (2002): 615–22. http://dx.doi.org/10.1353/ecs.2002.0036.

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6

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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7

Neocleous, Mark. "Gothic fascism." Journal for Cultural Research 9, no. 2 (April 2005): 133–49. http://dx.doi.org/10.1080/14797580500063556.

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8

Herrero-Puertas, Manuel. "Gothic Access." Journal of Literary & Cultural Disability Studies 14, no. 3 (August 1, 2020): 333–51. http://dx.doi.org/10.3828/jlcds.2020.21.

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The article charts gothic fiction’s spatialization of disability by examining two representative entries: Horace Walpole’s foundational novel The Castle of Otranto (1764) and Peter Medak’s film The Changeling (1980). Their different media and historical backgrounds notwithstanding, both texts feature haunted houses where ghosts and nonghosts collaborate in tearing walls, clearing passageways, tracking voices, and lighting up cellars. These accommodations, along with the antiestablishment critiques they advance, remain unanalyzed because gothic studies and disability studies have intersected mainly around paradigms of monstrosity, abjection, and repression. What do we gain, then, by de-psychologizing the gothic, assaying ghosts’ material entanglements instead? This critical gesture reveals crip ghosts Joseph (Changeling) and Alfonso (Otranto) engaged in what the article conceptualizes as “gothic access”: a series of hauntings that help us collapse and reimagine everyday life’s unhaunted—yet inaccessible—built environments.
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9

Garrett, Peter K. "Rarefied Gothic." Eighteenth Century 47, no. 1 (2006): 81–84. http://dx.doi.org/10.1353/ecy.2007.0016.

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10

Brookes, Les. "Queering the Gothic." Women: A Cultural Review 24, no. 4 (December 2013): 356–58. http://dx.doi.org/10.1080/09574042.2013.857958.

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11

Packham, Jimmy, and David Punter. "Oceanic Studies and the Gothic Deep." Gothic Studies 19, no. 2 (November 2017): 16–29. http://dx.doi.org/10.7227/gs.0026.

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12

Starrs, Roy, Izumi Kyoka, and Charles Shiro Inouye. "Japanese Gothic Tales." Monumenta Nipponica 51, no. 4 (1996): 471. http://dx.doi.org/10.2307/2385423.

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13

Parker, Martin. "Organisational Gothic." Culture and Organization 11, no. 3 (September 2005): 153–66. http://dx.doi.org/10.1080/14759550500203003.

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14

Butler, D. "Gothic Television." Screen 49, no. 2 (January 1, 2008): 250–54. http://dx.doi.org/10.1093/screen/hjn017.

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15

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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16

Silver, Larry, and Norbert Nussbaum. "German Gothic Church Architecture." Sixteenth Century Journal 32, no. 2 (2001): 623. http://dx.doi.org/10.2307/2671851.

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17

Soltysik Monnet, Agnieszka. "Gothic Matters: Introduction." Text Matters, no. 6 (November 23, 2016): 7–14. http://dx.doi.org/10.1515/texmat-2016-0001.

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18

Milner, Johnny. "Australian Gothic Soundscapes: The Proposition." Media International Australia 148, no. 1 (August 2013): 94–106. http://dx.doi.org/10.1177/1329878x1314800111.

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While recent studies demonstrate a significant increase in the level of interest in the soundtracks of Australian cinema, very little attention has focused on the way soundtracks can convey the ‘gothic’ within an outback-cinematic context. This article attempts to begin to address this issue by providing a close reading of the Australian gothic Western The Proposition – looking specifically to its sonic dimensions, namely the amalgam of score, dialogue and sound effects. The article argues that the film's soundtrack draws from a range of Australian literary and cinematic tropes, and draws specifically on the aural and epistemological gothic traits of Australia, the outback and its perception as unfamiliar space during the time of settlement. Following this discussion, the focus shifts to ways in which The Proposition's soundtrack foregrounds significations that offer new, and complex, articulations of a specifically ‘Australian gothic’.
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19

Wiehahn, Rialette. "Comparative reception studies of the Gothic Novel." Journal of Literary Studies 11, no. 3-4 (December 1995): 112–15. http://dx.doi.org/10.1080/02564719508530121.

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20

Hogle, Jerrold E. "Introduction: Gothic Studies Past, Present and Future." Gothic Studies 1, no. 1 (August 1999): 1–9. http://dx.doi.org/10.7227/gs.1.1.1.

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21

Norton, R. "Queer Gothic." Eighteenth-Century Life 32, no. 1 (January 1, 2008): 96–98. http://dx.doi.org/10.1215/00982601-2007-014.

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22

Doig, Allan. "Book Review: The Gothic Cathedral." Theology 95, no. 768 (November 1992): 460–61. http://dx.doi.org/10.1177/0040571x9209500616.

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23

O’Donoghue, Neil Xavier. "Book Review: The Gothic Missal." Irish Theological Quarterly 84, no. 2 (April 16, 2019): 222–23. http://dx.doi.org/10.1177/0021140019836483c.

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24

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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25

Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.

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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.
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26

Mitchell-peters, Brian. "Camping the Gothic." Journal of Homosexuality 39, no. 1 (April 21, 2000): 107–38. http://dx.doi.org/10.1300/j082v39n01_07.

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27

Branson, Stephanie, and Darryl Hattenhauer. "Shirley Jackson's American Gothic." Tulsa Studies in Women's Literature 22, no. 2 (October 1, 2003): 416. http://dx.doi.org/10.2307/20059162.

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28

Velie, Alan R. "Gerald Vizenor's Indian Gothic." MELUS 17, no. 1 (1991): 75. http://dx.doi.org/10.2307/467324.

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29

Taylor, Gary. "Shakespeare’s Early Gothic Hamlet." Critical Survey 31, no. 1-2 (July 1, 2019): 4–25. http://dx.doi.org/10.3167/cs.2019.31010202.

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This article proposes that Q1 Hamlet is best understood as an early Gothic tragedy. It connects Catherine Belsey’s work on Shakespeare’s indebtedness to ‘old wives’ tales’ and ‘winter’s tales’ about ghosts with Terri Bourus’s evidence of Q1’s connections to Stratford-upon-Avon, the 1580s, and the beginnings of Shakespeare’s London career. It conducts a systematic lexical investigation of Q1’s Scene 14 (not present in Q2 or F), showing that the scene’s language is indisputably Shakespearian. It connects the dramaturgy of Q1 to the dramaturgy of Titus Andronicus, particularly in terms of issues about the staging of violence, previously explored by Stanley Wells. It also shows that Titus and Q1 Hamlet share an unusual interest in the barbarity and vengefulness of Gothic Europe (including Denmark and Norway).
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30

Burrow, Merrick. "Conan Doyle's Gothic Materialism." Nineteenth-Century Contexts 35, no. 3 (July 2013): 309–23. http://dx.doi.org/10.1080/08905495.2013.806698.

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31

Hervoche-Bertho, Brigitte. "SEMINAL GOTHIC DISSEMINATION IN HARDY’S WRITINGS." Victorian Literature and Culture 29, no. 2 (September 2001): 451–67. http://dx.doi.org/10.1017/s106015030100211x.

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I think I am one born out of due time, who has no calling here.* * *If way to the Better there be, it exacts a full look at the Worst.— Hardy, “In Tenebris II,” Poems of the Past and the PresentCRITICS HAVE TOO OFTEN dismissed the Gothic elements in Thomas Hardy’s writings as superficial trappings to be found mostly in his minor fiction.1 The aim of this article is to show that the diffusion of Gothic motifs in the whole of Hardy’s literary production is something both intentional and fruitful. The Gothic is indeed a vital part of Hardy’s artistic vision, and it adds to the aesthetic value of his works. His major novels and his poetry are as rife with Gothic lore as his early “minor” fiction.2 This propagation of Gothic elements is central to the dialectic between impregnation and dispersal contained in the etymology of the word “dissemination” (meaning both “sowing” and “scattering”).3
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32

Hock-Soon, Andrew. "Revisiting Judges 19: A Gothic Perspective." Journal for the Study of the Old Testament 32, no. 2 (December 2007): 199–215. http://dx.doi.org/10.1177/0309089207085883.

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33

Kerr, Hugh T. "The Gothic Image: Church and College." Theology Today 48, no. 2 (July 1991): 125–27. http://dx.doi.org/10.1177/004057369104800201.

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34

Chow, Jeremy. "Snaking into the Gothic: Serpentine Sensuousness in Lewis and Coleridge." Humanities 10, no. 1 (March 15, 2021): 52. http://dx.doi.org/10.3390/h10010052.

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This essay charts the ways late-eighteenth-century Gothic authors repurpose natural histories of snakes to explore how reptile-human encounters are harbingers of queer formations of gender, sexuality, and empire. By looking to M.G. Lewis’s novel The Monk (1796) and his understudied short story “The Anaconda” (1808), as well as S.T. Coleridge’s Christabel (1797–1800), I centre the last five years of the eighteenth century to apprehend the interwoven nature of Gothic prose, poetry, and popular natural histories as they pertain to reptile knowledge and representations. Whereas Lewis’s short story positions the orientalised anaconda to upheave notions of empire, gender, and romance, his novel invokes the snake to signal the effusion of graphic eroticisms. Coleridge, in turn, invokes the snake-human interspecies connection to imagine female, homoerotic possibilities and foreclosures. Plaiting eighteenth-century animal studies, queer studies, and Gothic studies, this essay offers a queer eco-Gothic reading of the violating, erotic powers of snakes in their placement alongside human interlocutors. I thus recalibrate eighteenth-century animal studies to focus not on warm-blooded mammals, but on cold-blooded reptiles and the erotic effusions they afford within the Gothic imaginary that repeatedly conjures them, as I show, with queer interspecies effects.
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35

Keithline, Anne. "Mistaken for Ghosts: The Gothic Trope of Catholic Superstition in Conrad and Ford’s ”Romance”." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 87. http://dx.doi.org/10.17951/lsmll.2019.43.2.87-96.

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<p>A perennially fruitful activity in Gothic studies is to track the development of Gothic tropes as popular literature evolves. Joseph Conrad’s career, which spanned Victorianism and early Modernism, provides examples of the evolution of certain Gothic conventions between early- and late-career work. Conrad’s collaboration with Ford Madox Ford on <em>Romance</em> (1903) is an early example of Conrad’s exposure to, and use of, Gothic tropes, especially relating to Catholic ghost-seeing. This paper demonstrates similarities between <em>Romance</em>’s uses of the trope of Catholic superstition and those of three classic Gothic novels, and also outlines the trope’s lasting effect on Conrad’s later work.</p>
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36

Bauer, Doron. "Islamicate Goods in Gothic Halls: The Afterlives of Palma De Mallorca’s Islamic Past." Medieval Encounters 26, no. 2 (August 25, 2020): 128–44. http://dx.doi.org/10.1163/15700674-12340066.

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Abstract Following the conquest of Islamic Majorca in 1229, the Christian settler-colonizers embraced a purist identity that rejected altogether the island’s Islamic past and its artistic heritage. Visually, this new identity found its expression in the form of a clean, restrained, and mathematical gothic style. Palma’s towering gothic monuments embodied an ideological attempt at cultural erasure that has shaped Mallorquin identity to the present day. However, through the interstices of collective memory and material evidence it becomes clear that Islam and the Islamicate lingered beyond the singular point of the conquest through the continuity of local artistic production, the arrival of new Muslim artisans, imports of Islamicate objects, and the survival of monuments. The result was a hierarchical aesthetic system with two axes: the first consisted of the superimposed monumental, public, and official Gothic, while the second consisted of portable and less durable Islamicate objects that circulated in the gothic halls.
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37

Васильєва, О. С., М. С. Винничук, І. В. Васильєва, and І. В. Олійник. "АРХІТЕКТУРА ЯК ДЖЕРЕЛО НАТХНЕННЯ ДЛЯ РОЗРОБКИ АВТОРСЬКИХ КОЛЕКЦІЙ ОДЯГУ." Art and Design, no. 1 (June 3, 2020): 70–81. http://dx.doi.org/10.30857/2617-0272.2020.1.5.

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Identify the features of the artistic and plastic properties of gothic and neo-gothic architecture. Find their characteristic forms and artistic and compositional features, explore and highlight the characteristic stylistic interpretations of gothic architecture in modern clothing collections. The study used the basic principles of a systematic approach to the art design of modern author's clothing collections: literary and analytical studies and figuratively associative stylization of the source of creativity. The analysis carried out and the most characteristic artistic and compositional solutions of the gothic architectural style solutions. The basic techniques and stylization of the elements of the gothic architectural style in modern collections of fashionable clothes are determined. The principles of design modern collections of fashion designers are defined, where a gothic architectural style was used as a creative source. The research results used in the development of the author's collection of women's clothing. The paper sets out the basic artistic and compositional features of the gothic and neo-gothic architectural styles (forms, decorative elements and color combinations) and their application in the design of collections of modern fashionable clothes. The analysis of the artistic and compositional features of the collections of the world's leading designers in the gothic and neo-gothic styles carried out and information about the features of their interpretation systematized. Practical recommendations on the choice artistic and compositional solutions, design and decorative elements, selection of materials, color, accessories, hats, for the design of modern women's clothing with stylization elements of gothic and neo-gothic architectural styles are presented. The research results used to develop a collection of women's clothing.
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38

Brantlinger, Patrick. "Anti-Semitism and British Gothic Literature (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 24, no. 4 (2006): 162–64. http://dx.doi.org/10.1353/sho.2006.0084.

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39

Silver, Larry, Richard Marks, and Paul Williamson. "Gothic: Art for England 1400-1547." Sixteenth Century Journal 36, no. 2 (July 1, 2005): 465. http://dx.doi.org/10.2307/20477365.

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40

Long, Jane C., and Anita Fiderer Moskowitz. "Italian Gothic Sculpture, c. 1250-1400." Sixteenth Century Journal 32, no. 3 (2001): 807. http://dx.doi.org/10.2307/2671531.

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41

Ingebretsen, Edward J. "Reading Scandal: Civic Gothic as Genre." Journal of Media and Religion 3, no. 1 (February 2004): 21–42. http://dx.doi.org/10.1207/s15328415jmr0301_2.

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42

Han, Bing, and Mo Guo. "Gothic Writing Technique and Yin-Yang Theory in The Fall of the House of Usher." Journal of Language Teaching and Research 11, no. 2 (March 1, 2020): 288. http://dx.doi.org/10.17507/jltr.1102.18.

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In both theoretical and practical senses, Gothic writing techniques and Yin-Yang theory share many similarities. To some extent, Gothic writing techniques can be explained by Yin-Yang theory and their application in Gothic fictions can be transferred to corresponding regulations in Yin-Yang theory. This paper mainly looks into the similarities and dissimilarities of them, specifically in Edgar Allen Poe’s The Fall of the House of Usher. This paper studies this two terms from a philosophical perspective.
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43

Stanford, Charlotte A. "Robert Bork, Late Gothic Architecture: Its Evolution, Extinction, and Reception. Architectura Medii Aevi, X. Turnhout, Belgium: Brepols, 2018, 552 pp, 337 b&w and 332 color ill." Mediaevistik 32, no. 1 (January 1, 2020): 545–48. http://dx.doi.org/10.3726/med.2019.01.164.

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In studies of Gothic architecture, structures categorized as “late” (that is, begun after the mid-fourteenth century) have traditionally received little attention by scholars. Gothic, it has even been argued, <?page nr="546"?>was decadent and dying by the fifteenth century. This new study by Robert Bork demonstrates, however, that up until the 1530s throughout Western European lands, vibrant and viable building projects were completed, continued, and even commenced in the manner known as “late Gothic.”
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44

Aibabin, Aleksandr. "Crimean Gothia in the First Half of the 13th Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 56–68. http://dx.doi.org/10.15688/jvolsu4.2020.6.4.

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Introduction. The toponym Gothia in written sources from the 8th century was used to designate the territory of the Mountain Crimea inhabited by the Alans and the Goths between Inkerman and the north-eastern suburb of Alushta. The same region was called the Klimata of Cherson and the Klimata of Gothia. Methods. Fragmentary information about Gothia is contained in the “Synopsis of St. Eugenios” compiled by John Lazaropoulos until 1364 and in the “Alanian Epistle” by the bishop Theodore. These works describe the same period in the history of the Gothic Klimata, 1223–1227 and 1223, respectively. Analysis. The considered evidence confirms the entry of Cherson and its subordinate Klimata of Gothia into the empire of Trebizond, at least in the first half of the 13th century. It is methodically incorrect to judge the situation in the Klimata in the first half of the 13th century from the descriptions contained in later sources of what happened in the 14th–15th centuries. The “Epistle” says about the flight of bishop Theodore to an Alanian village neighboring to Cherson. Supporters of identifying the village with the Qırq-Yer fortress remote from the city on the Chufut-Kale plateau ignore geographical and historical realities. Results. There is no evidence of the existence of single-ethnic Gothic and Alanian regions in the mountains and on the southern coast in written sources. In Sudak, Guillaume de Rubrouck was talked about speakers of Teutonic and other languages in the mountains of Crimea. Historian’s allegations about the division of Gothia into two principalities are disproved by the results of archaeological excavations in the territory of Klimata of Gothia. The toponym Klimata is not mentioned in the descriptions of events that occurred after the middle 13th century. However, archaeological excavations of cities on the Inner Ridge revealed the preservation of active and diverse life activities of the population of the region until the end of the 13th century. Probably, the history of the administrative formation of the Klimata of Gothia was interrupted in 1298/99, when Nogai’s troops destroyed Cherson, cities on the Eski-Kermen plateau, Bakla and others.
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BURTON, P. "FRAGMENTUM VINDOBONENSE 563: ANOTHER LATIN-GOTHIC BILINGUAL?" Journal of Theological Studies 47, no. 1 (April 1, 1996): 141–56. http://dx.doi.org/10.1093/jts/47.1.141.

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Donovan-Condron, Kellie. "Urban Gothic in Charlotte Dacre'sZofloya." European Romantic Review 24, no. 6 (December 2013): 683–97. http://dx.doi.org/10.1080/10509585.2013.845771.

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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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Freeman, Nick. "E. NESBIT'S NEW WOMAN GOTHIC." Women's Writing 15, no. 3 (November 19, 2008): 454–69. http://dx.doi.org/10.1080/09699080802444918.

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Jung, Sandro. "SARAH PEARSON'S GOTHIC VERSE TALES." Women's Writing 16, no. 3 (November 12, 2009): 392–407. http://dx.doi.org/10.1080/09699080903161981.

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Botting, Fred. "Dracula, Romance and Radcliffean Gothic." Women's Writing 1, no. 2 (January 1994): 181–201. http://dx.doi.org/10.1080/0969908940010205.

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