’s Other Voices, Other Rooms ( 2004) , the protagonists are so susceptible to the backward temporalities of return and the gothic that their adolescences become non-transitional. 1 In Love’s discussion of backward affects, “adolescent feelings
’ that was also objectionably ‘Gothic’. But Wells argues that, although there is violence in all Shakespeare's tragedies (and many of his other plays), the nature of that violence changes over time. Wells agrees with Ben Jonson's claim that Titus
Convergences and Divergences of the Gothic Literary Heroine
What brand of heroine can be found in the Twilight series? What discernible characteristics of a heroine can be found in gothic fiction and do these characteristics contribute to a social definition of girlhood/womanhood? In an analysis of the Twilight series' protagonist as a gothic heroine in contrast to Charlotte Brontë's Jane Eyre, I claim that the author, Stephenie Meyer, constructs a particular category of contemporary gothic heroine. Drawing on the statement made by the novel's leading male character, Edward, to Bella that she is his “brand of heroin,“ this article plays with the idea that Meyer merged elements of the bildungsroman and the Female Gothic to create her brand. This brand of heroine fulfills the three distinct categories of girlhood/womanhood that characterize both the Gothic novel and the bildungsroman: a dependent stage, a caretaker stage, and a wife stage.
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
Queer Gothic Girlhood in John Harding’s <em>Florence and Giles</em>
Literary fiction is a widely popular arena in which discourse on sexuality and queerness is produced and disseminated. The Gothic is an especially crucial mode in literary fiction that has a historically intimate relationship with queer subjectivity. Observing this relationship between Gothic fiction and queer subjectivity, in this article I analyze the representation of queer Gothic girlhood in contemporary fiction, taking as my focus John Harding’s 2010 reworking of the Henry James classic, The Turn of the Screw (1898). I show how Florence and Giles develops familiar tropes attached to the figure of the queer child and look specifically at how readings of the parent text implicate contemporary readings of this figure. With close readings that draw on the queer feminist ethics of Lynne Huffer, I consider what seems to be happening to the figure of the queer Gothic girl in contemporary fiction.
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.