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).
In a 1909 article for the North American Review on ‘The American “Tramp” Question’, Bram Stoker turns his attention to the issue of vagrancy and urges the necessity of swift action to deal with the ever increasing problem of the ‘wilfully-idle class’: ‘When certain persons – or classes of persons – are manifestly dangerous to the more peaceful and better-ordered classes of communities’, he declares, ‘it is the essence of good government – indeed, a necessary duty to responsible officials – to keep them in restraint, or certainly under observation’. There is consequently a need for some means of identifying these ‘undesirable’ characters, so that they can easily be located and detained in order to be taught to be industrious. Anticipating the introduction of GPS (Global Positioning System) or electronic tagging, he suggests that while the primitive system of ‘ear-marking with a “hot yron”’may not be acceptable to the modern age, ‘surely the resources of science are equal to some method of personal marking of an indelible quality’.
Victorian Metropolitan Confluence in Penny Dreadful
Sinan Akilli and Seda Öz
Since its premiere in May 2014, the Victorian pastiche, Gothic horror television series Penny Dreadful (Showtime / Sky Atlantic, 2014–) has had phenomenal success, which became evident in the immediate creation of a Penny Dreadful fandom of the
Gothic Ecology in Algernon Blackwood’s Pan’s Garden: A Volume of Nature Stories
for radical change. This brief study, then, intends to dislodge a few more bricks. I take a few steps away from Romantic and Victorian writing and focus attention towards a Gothic volume, Algernon Blackwood’s Pan’s Garden: A Volume of Nature Stories
Adapting the Gothic Metropolis
, across a diverse range of genres. Peter Hutchings has described 2003’s From Hell as a return to the ‘Victorian gothic’ aesthetic popular in the cinema of the 1970s; 1 nonetheless, its production team were still interested in ‘find[ing] a city that will
Dracula, Penny Dreadful, and the Logic of Repetition
Dreadful , likewise an Anglo-American coproduction, created by Josh Logan, offers audiences a medley of classic nineteenth-century Gothic novels – the most important of which are Frankenstein, The Picture of Dorian Gray , and Dracula – following, to a
Horror, Vampires, and the Maternal in Late Nineteenth-Century Gothic Fiction
The most intricate element shared by both psychoanalysis and gothic narratives is their preoccupation with the past and its complex impact on the genesis and state of the present. This is the case from a historical and cultural perspective as well as from the point of view of subjectivity and identity. Who are we, how do we relate to the world around us, and what threatens our sense of ‘being present/in the present’ – these questions are at the centre of any psychoanalytic inquiry and simultaneously seem to inform what could be referred to as a gothic narrative structure. The concept of haunting, the hidden spectre in the past/of the past ready to strike when we least expect it are intrinsic to both the psychoanalytic discourse per se and any tale of horror and terror where an unsuspecting hero (or more often a heroine) has to develop strategies to fight off the unspeakable monstrosities attacking him or her. Thus, what Victor Sage and Allan Lloyd Smith regard as particular to the Gothic: ‘it is a language, often an anti-historicising language, which provides writers with the critical means of transferring an idea of the otherness of the past into the present’ could also be defined as a specific element of any psychoanalytic discourse.
Dennis Brown, Anna Birch, Eibhlín Evans, and Andrew Maunder
Wyndham Lewis: Painter and Writer Paul Edwards (New Haven and London: Yale University Press, 2000), ISBN 0–300–08209–6, hardback £40
The Routledge Reader in Politics and Performance, edited by Lizbeth Goodman with Jane de Gay (London: Routledge, 2000), ISBN 0–415–17473–2 paperback £15.99
Seamus Heaney Andrew Murphy (Tavistock: Northcote House, 1996, 2nd Edition, 2000). ISBN 0 7463 09627 paperback £8.99
Women’s Gothic: From Clara Reeve to Mary Shelley E. J. Clery (Tavistock: Northcote House, 2000), ISBN 0 7463 0872 8 paperback £9.99
The Vampire and Transnationalism in the Twilight and Sookie Stackhouse Series
This article reads Stephenie Meyer's Twilight series and Charlaine Harris's Sookie Stackhouse novels as contemporary developments in the Gothic genre reflecting current issues of group and national identity. It extends the trope of the vampire as a site of national anxiety to a globalised, post 9/11 context where national identity is renegotiated and transformed. In Harris's novels, the vampires reveal themselves as Other to humans but integrate by accepting human definitions of nation and race which are then superceded by globalised trade. In Meyer's series, supposedly discrete groups of humans and non-humans evolve niche groupings that transform and react to the exigencies of history. Drawing upon Bill Ashcroft's use of the term 'articulation' to describe the cognizant construction of identity through the influences of social, national and religious traditions, the contemporary vampire is read as the place where renegotiations of national identity in a transnational era are visible.
Women Writers and the Historical Novel in the Thirties
The 1930s can be seen as a key turning point in the development of the historical novel: it is during this decade that the historical novel becomes a genre particularly associated with women writers. Women had, of course, written historical novels before. The gothic romances of Ann Radcliffe and her successors have ‘historical’ settings, while Elizabeth Gaskell and George Eliot both wrote historical novels. Baroness Orczy had been producing her Scarlet Pimpernel books since 1905 and Marjorie Bowen’s The Viper of Milan had been a bestseller in 1906. As the 1920s wore on a steady flow of women’s historical fiction gathered pace. Georgette Heyer’s career as a bestselling historical romance writer began with The Black Moth in 1921. Naomi Mitchison published her first historical novel in 1923, while Sheila Kaye-Smith and Mary Webb produced so-called ‘regional’ or ‘rural’ novels which are also set in the past.